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Len - Steal My Sunshine (Colombia)

This was supposed to be a wee blog about a daft pop song some of you may remember and love but most of you have probably forgotten about. I personallyÌýrememeber it fondly because it's so ridiculously sweet (and thats a great thing, every now and again). Oh,Ìýand I vaguely fancied the girl singer in the video - the one sucking the lollypop.

But as it turns out, off the back of , I have discovered a few surprising things about Len, who'd assumed where the ultimate one hit wonders.

- They're from Canada. No big deal, but we can add them to a random list headed by Celine Dion, Arcade Fire and Tiga.

- They're a brother and sister - Marc and Sharon.

- They have released five albums and 12 singles. Granted not all of them in the UK, but still. I'm almost curious to hear those albums.

- They were initially compared to My Bloody Valantine. Whats that all about?!

- They're still together - or at least haven't officially split up, having released a record a couple of years ago.

Anyway, . Seriously, isn't this one of the sweetest, summery songs ever?!

The Wedding Present - Montreal (Cooking Vinyl, 1996)

There's a handful of bands that everyone goes on about as hugely influential or just plain awesome, but that I know very little about. and , for a start. 'Been Caught Stealing' by Janes is one of my favourite songs ever since I heard it in Liam Howlett's mix album and I also really like and , bands formed by Dinosaur Jr's Lou Barlow. Yet I could only name maybe two or three songs byÌýany of those bands.

Then there's . All I know about this lot is that the singer is David Gedge, he's from Leeds, and they're responsible for one of my favourite songs of all time. Strange that I never bothered with any albums, I know.

It would have been about 1996 or 1997. Steve Lamacq played the track while I was driving my dad's car. I didn't hear the introduction andÌýit segued into another track so there was no back reference. But the chorus stuck in my head for eight years. Every now and again, it'd come back and wave at me like a recurring dream and I'd hum the little bit I knew.

After this had happened for maybe the 100th time, I finally decided to find the song. So, about three years ago, I googled "so I said thanks but no / I've got somewhere else to go / and the plans I've made / don't include you I'm afraid" - the only lyrics I remembered.

And there it was: The Wedding Present - Montreal.

On the off chance, I dandered over to the W section of the ATL CD library. Bizarrely, before I started even flicking through the two or three hundred CD singles, this luminous green slip case caught my eye.

IT was the track. I couldn't believe it. I went to tell Paul or Donna, but it was too ridiculous a story and I doubted they'd believe me.

But I love this song. Maybe you will too.

Just five sleeps to this year's !

ATL will be all over the annual knees up in the Sperrins, with the usual web coverage and an on-air special of live music next Monday night.

, Rigsy has compiled ten unmissables...

Small But Massive Main Stage, 12.30pm
ATL declared them 'the best new band in the country' after overplaying the tracks 'Fashionista Art Party' and 'Charm Offensive' of a Monday night. Having since had the pleasure of seeing them live, it was reassuring to confirm they actually have more where that came from. Poppy and jagged in equal measures, they're definitely worth an early start.

G Sessions Stage, 1.10pm
They've been relatively quiet of late and the worry is that people may start to forget they even exist. Given they've only recently hit their stride with a string of promising new recordings, that would be beyond a shame. Time to remind yourself how great they are.

Small But Massive Main Stage, 2.10pm
Since winning ATL Rockschool a good eighteen months ago they've come on a great deal - and they were already great. Pretty epic stuff for so early in the day, but you may be glad of a little substance to get you through the afternoon.

G Sessions Stage, 2.50pm
They look and sound a lot different than they did a couple of years ago - it's a novelty you hope never wears off. The debut album 'Earth and Earthly Things' is one of the most randomly fun collections of music we've heard this year and live it's pretty much the same deal - with added sass.

Small But Massive Main Stage, 3.50pm
While others have gone on tour, got signed and tried to take over the world, The JB's have quietly been plotting a subtle change in direction and preparing for Mk 2. It's here and involves more musicians, a bigger sound and a lot of fresh avenues explored. Expect pleasant surprises.

Spurs of Rock Stage, 5.00pm
The balliest band on the bill, for sure. Big, nasty tunes that'll probably drown out whoever's unfortunate enough to be playing the main stage. Won't be the same without the pole-dancers, though.

Eagle's Rock Acoustic Stage, 5.45pm
Given the connections to the always reliable Delawares, we knew this lot would be great. A recent ATL session, boasting their properly crafted, alt country gems, clarified the aforementioned greatness.

Spurs of Rock Stage, 6.45pm
Whiskey drinking Mexicans performing vaguely intimidating knees ups about rock n' roll excess... what can be bad about that? Well, you may feel a little violated by 7pm...

Eagles of Rock Acoustic Stage, 7.45pm
Weird that this is what Mike from Mojo Fury does in his spare time - slightly sinister Russian folk. The tracks have been splendid, but ATL is yet to witness Clown Parlour live. We hear it involves dressing up, so we're more than a little excited.

Small But Massive Main Stage, 9.45pm
It's pretty inevitable that In Case of Fire, And So I Watch You From Afar and General Fiasco will all slay Glasgowbury in their own unique way. All three have been flat out touring and all three proved their worth at Oxegen last weekend. You'll want to see them all of course, but at the moment we're recommending General Fiasco just a tiny bit more than the others, simply because of how ridiculously assured, tight and downright impressive they've become in the last few weeks. They could well steal the show.

G Sessions Stage, 10.00pm
It's still our only criticism of Glasgowbury, though granted it's quite a big one. Almost 50 acts and, with two exceptions, nothing but rock, indie and singer songwriters. It's a real shame. Northern Ireland's music scene is remarkably, impressively diverse these days and that simply isn't reflected, despite the impressive line up. The Innishowen Gospel Choir and a little rave from Derry's Legendary DJ collective Deep Fried Funk is something a little different to look forward to.

O2 Stage,ÌýSunday 12th July, 10.40pm

Describe in a tweet:ÌýMisery loves company.

What happened:ÌýThe opening moments set the tone for everything that was to follow: Prince of Darkness, Trent Reznor slowly, butÌýpurposefully strides out of a cloud of smoke, to take hold of the microphone and share his pain with us. Simultaneously preposterous and thrilling, this is a quintessential festival headline performance -Ìýchoreographed, loud, crystal clear, big lightshow - it's all here.

The spectacle is incredible, and ATL finds itself more than a little surprised to start going mental to some stadium sized industrial rock, but this is exactly what happens. The guitarsÌýkick in, and the drums shake all the mud andÌýdirt off the ground, sending thousands of revelers into a state of mass hysteria.

"Bow down before the one you serve, you're going to get what you deserve," emotes Reznor, and this is pretty much exactly what happens - a glorious send-off for the festival. Who'd have thought one man's misery wouldÌýmakeÌýus all so happy?

This is a high:ÌýA perfect delivery of exactly what was need at that time, 'Hurt' was doomy, portentious, and more than a little corny. It was also completely wonderful. I even got my lighter out.

This is a low:ÌýNIN had a massive stage show, with intense lights, and dry ice. Jane's Addiction had what appeared to be a big carpet, proving that old fashioned showmanship is still easily a match for fancy lights and technology.

Oxegen rating:Ìý8/10Ìý

O2 Stage,ÌýSunday 12th July, 9.00pm

Describe in a tweet:ÌýFestivals were made for this kind of thing.

What happened:ÌýWhere before the ground had been a slightly difficult, muddy mess, after an early evening downpour, most of the festival site now resembles a disgusting, sinking bog, or perhaps the location of some intense trench warfare. So rather than the brisk trot it had previously taken for ATL to get from the IMRO stage to the O2 stage, it is now a voyage of personal self-discovery, where your humble narrator was forced to draw on previously untapped reservoirs of strength and courage. Eventually, slightly later than expected, ATL found it's little world being rocked by Jane's Addiction.

Jane's always made epic music, the kind of sound that conveys standing on the edge of a cliff-face and trying to swallow up the entire Pacific Ocean, and the rain and mud of Oxegen are no obstacle for them. Indeed, the way he struts about the stage, sitting on the edge, climbing atop objects...you'd think this was just Perry Farrell's massive back porch, and we'd all being invited to a barbecue. Over the course of some IMMENSE sounding rock, Farrell speaks with an appaling Irish accent, urges people toÌýgo topless (and bottomless), drinks whiskey,Ìýjumps about, gets hit by a bra, and generally behaves like an absolute rockÌýlegend. Farrell andÌýguitarist Dave Navarro make a great double-act, providing moments of theatrical hilarity, and then kicking into someÌýof the finest alternative rock ever made.

When the finish the set with 'Jane Says', all strummedÌýacoustic guitars and steel drums, Oxegen is probably the happiest place in the world, every single person having been taken to their happy place.

The clouds part,Ìýthe setting sun streams through the sky, and the revelry takes on a euphoric tone, beaming smiles and wonderment all around. People run about in the mud, and it seems theÌýmostÌýperfect end to the festival we could have hoped for.

But the O2 stage wasn't finished with us just yet...

This is a high:Ìý'Ocean Size' sounded bigger than the biggest thing you could ever imagine. In fact, it was even bigger than that.

This is a low:ÌýOne particularly euphoric revel went for a swim in the mud, losing his phone in the process. Nae luck to him.

Oxegen rating:Ìý8.5/10Ìý

Heineken Green Spheres,ÌýSunday 12th July, 5.20pm

Describe in a Tweet:Ìý Impossible not to dance. Literally impossible.

What happened: Post-Glasto, there's been a lot of talk of Friendly Fires and their live show. This reviewer got a little over-excited, to the point disappointment seemed inevitable. But somehow they soared above expectation towards the performance of the weekend.

This is a high: Ed Macfarlane's dancing. Impossible to work out whats going on with his limbs but also impossible not to join in. It's great this - his dancing is so ridiculous that nomatter how strange you may think you look when you really get into a band, there's zero chance you look as nuts as this guy. Amazing.

Also, their musicianship. Seems boring to point it out, but these guys can really play. 'Jump in the Pool', 'Lovesick' and 'Skeleton Boy' all sound even better than on record, which is a huge achievement. 'Paris' is the best thing this reviewer saw/heard all weekend.

This is a low: Easy - their set wasn't long enough.

Oxegen rating: 9/10

Red Bull Music Academy, Sunday 12th July, 8:05pm

Describe in a Tweet: Like a prince from a strange twisted fairy-tale, Kevin Barnes commands the stage as his own little universe.

What Happened: The tent is packed and it's plainly obvious Of Montreal could nicely fill a much bigger stage. And it's with good reason people have flocked to see this theatrical psych-pop troupe.

Lead singer Kevin Barnes looks like a prince, while the cross dressing guitarist has a pink feather boa/wing contraption on his shoulders. This is a show regardless of the music. They have dancers in pig masks, disco ninja outfits and strange leotards joining in every few songs to add to the weird and wonderful presence on stage already. Barnes even steps back at times to give the dancers centre stage. And it works, even if I have no idea what is going on up there.

The music itself is such freakish pop that you can't help but smile. 'Chemicals' has the crowd screaming their lungs out while nobody was left standing still for 'A Sentence of Sorts in Kongsvinger". The only problem I had was the sound at points. But there where enough theatrics to keep you pleased.

This is a High: It's gotta be the men in the 'half leotards' - one arm/one leg free to the world.

This is a Low: The annoying guys trying to push their way to the front for "free water".

Oxegen Rating: 7/10

Red Bull Music Academy, Sunday 12th July, 7pm

Describe in a Tweet: There's a party on stage and it's damn well infectious.

What Happened:ÌýDue to my stubborn persistence, I made it to the Red Bull Tent just in time for Casiokids. I had to cross an ocean of Katy Perry fans, determined to be in my way, whilst in the middle of torrential rain. But boy was I rewarded for my trek.

The tent, now filled with some pretty sorry looking characters, was soon transformed into a secret patch of bliss. The band basically started a party on stage that emanated into the crowd like beams from the sun - warming all of us who presumably swam there.

They swapped instruments, pogo jumped around stage and changed cow bell duties every few minutes. Pineapple shakers, multicolored drum sticks and grinning faces convinced the crowd as they played some absolutely brilliant pop songs.

They finished with 'Fot i Hose' and the crowd erupted into a sea of flinging arms. Even my sober lone self had a little boogie in me wellies.

This is a High:ÌýWitnessing the shear fun the band are having on stage.

This is a Low: My absolutely horrible journey to catch the set.

Oxegen Rating: 8/10

Hot Press Stage, Sunday 12th July, 3.00pm

Describe in a Tweet:ÌýEvery genre of music sellotaped together.

What happened: Seven people run onto the stage and grab various instruments. Then for the next ten minutes or so, we are taken on a voyage through time and space.

Hailing from New York, The Phenomenal Handclap Band are one of those acts it would be impossible not to have an opinion on. Five boys and two girls, each member clearly has their own thing going on, from vocalist Joan Tick's icily beautiful stance, to guitarist Quinn's psychedelic hippie look (resembling, if anything, Robyn G Shiels decked out in 1967 San Francisco gear, whilst wearing a curly blonde wig). The sound is similarly idiosyncratic, with funk bass mixing with bubbling electronics, garage rock guitar, and group harmonies.Ìý

Whatever you want to call it, it's absolutely irresistible, prompting outbreaks of booty shaking at an early stage in the proceedings. This is irrepressibly 'happy' music, every note sounding joyous and triumphant, and possessing an 'arms open to the universe' kind of vibe. And when they really tear into it, they are absolutely fearsome, riffs and solos grinding against each other, whilst the beat just keeps on keepin' on.

At times, it's hard to work out whether this is completely amazing, or completely ridiculous, but ATL has surrendered unconditionally to it, and is not ashamed to say that it was caught getting it's groove thang on. In outer space, baby.

This is a high:Ìý'15 to 20' - never has a song made counting so much fun.

This is a low:ÌýThe guitarist's trousers were a bit suspect. As was his shirt. And I should know, having been seen wearing questionable clothing myself.

Oxegen rating:Ìý8/10

IMRO Stage, Saturday 11th July, 3:20pm

What Happened:ÌýIn many respects, it's been their year. A storming album and that Mandela Hall gig, it seems only fitting that Portrush boys And So I Watch You From Afar should be effectively headlining the IMRO tent on a very wet and windy Saturday night.

The lights go down, and the next thing we hear is a barrage of feeback; ASIWYFA have arrived. "Set Guitars to Kill' bursts into life, and one is left wondering whether the excessive rain had led to our boys being electrocuted, such is the manic intensity of their movements. Leaping about with wild abandon and scant regard for personal safety, the crushing sound is epic and immense. Alternating between riffs the size of a planet and moments of haunting fragility, ASIWYFA have not come to mess around.

Over the next 30 minutes, we are taken on an emotional journey, elation flowing through our veins. ASIWYFA seem to have limitless supplies of energy and enthusiasm, and the audience reply in kind, their cheers fueling the band to even greater heights.

Then, seemingly, disaster strikes. Rory Friers guitar starts to die a slow and lingering death, spluttering to a halt. Slamming his fist against his guitar pedals, he literally tries to beat the instrument back into life. However, he is unsuccessful, the fading crackle like a lingering afterthought of what might have been.Ìý

But the drama is not over, as he places the guitar against the monitors, before theatrically spitting on it. Then he's off, climbing atop the speakers at the front of the stage. The tension is unbelievable...is this the final hurrah of a much recognised musical totem? As if in answer, he leaps from the speakers into the audience, whilst guitarist Tony Wright, bassist Johnny Adger, and drummer Chris Wee thunder on with apocalyptic fury.

They might call it equipment failure. I call it one of the most unforgettable moments in the rise of an incredible band.

Depends on who pays the repair bill, I guess.

Describe in a Tweet:ÌýASIWYFA snatch victory from the jaws of defeat.

This Is A High:ÌýThe electrifying guitar interplay of 'A Little bit of Solidarity Goes a Long Way'.

This Is A Low:ÌýRory spitting on the guitar. This kind of behaviour is neither big, nor clever, kids.

Oxegen Rating: 8.5/10

Heineken Green Spheres Tent, Sunday 12th July, 6.30pm

Describe in a Tweet: Un peu d'air sur la terre, up da foals! lolz omgz.

What happened: Yannis Philippakis tore in to the first track Olympic Airwaves with the same amount of gusto as when I tore in to my over-priced 'gourmet' burger. On 'French Open' he cried at the crowd "waste away, waste away", but even on the third day of this muck fest they call a festival the crowd was still giving it wellies. By the time 'Cassius' was being belted out the throng was positively galloping to their beat. Everyone looks knackered, but it's time to party...

This Is a High: Man in horse mask dancing to the Foals. It was like the moons of mars aligned for one sweet moment.

This Is A Low: Man in horse mask dancing to the Foals did not dampen our spirits.

Oxegen Rating: 7/10

Hot Press New BandsÌýStage, Sunday 13th July, 6.00pm

Describe in a Tweet: Bouncing with The Maccabees.

What happened:ÌýFeeling warm and dry I found myself in a bouncying Hot Press tent watching The Maccabees. Hearing the lyrics "dear friend of mine" (from 'No Kind Words') asÌýI enter the tentÌýimmedately made me feel welcome.

Although they did suffer some technical issues, this went unnoticed to the crowd as the band showed how tight a group they are. PlayingÌýsongs like 'X-Ray' and 'Can You Give It'. With in 5 minutesÌýI found myself jumping and sing as loud asÌýI could.

The crowd showed their own vocal skill to tackle Orlando's range and we sang Happy Birthday to William The Maccabee stage hand, though I felt sorry for the guy as he was held by the band on stage.

Ending with 'Love you Better' I left the tent feeling uplifted happy and looking for a dance partnerÌýthat would cut some new shapes with me.ÌýTill thenÌýIÌýbouncy on as a one man dance machine.Ìý

This is a high:ÌýNot being surrounding by the archetypal Oxegen punters, just music fans.Ìý

This is a low: The walk back throughÌýsaid archetypes.

Oxegen rating: 8/10

The O2 Stage, Sunday 12th July, 5:10pm

Describe in a Tweet: Like watching androids take on the emotionalÌýsing-alongÌýfestival formula.

What Happened: White Lies sound good - no doubt about that. They're perfectly in time and professionallyÌýprecise. And their popularity is obvious as the numbers swarm around the O2 Stage area.ÌýBut the problem with White Lies is that they look and act like androids, turned on and programmed to play 50 minutes of crowd pleasing emotional festive pleasing rock. Like the moody drones Joy Division and Interpol without much charisma.

They stand static while running through the motions of 'To Loose My Life', 'E.S.T', 'Unfinished Business' and 'The Price of Love'. The crowd absolutely lap it up - singing, chanting, clapping during the choruses and then throwing muck, chatting and divert their attention elsewhere during the verses. In fact, in a way White Lies are being used and abused. The crowd just want their chorus fix and aren't too bothered about the rest.

However, for the last song 'Death', front man Harry McVeigh shows some human like qualities while the crowd surged forward. The punters sang along with a visually chuffed (for uno momento) McVeigh urging them to sing it with out him. They happily oblige.

This Is a High:ÌýWatching the crowd, in bliss, singing the lyrics to 'Death' in unison.

This Is A Low: Trying to leave during the last song and realising the struggle through the punters was too much for a lone soul. Waited it out.

Oxegen Rating: 6/10

Heineken Stage, Saturday 12th July, 4.00pm

Describe in a Tweet: Two car garage band.

What happened:ÌýOne of the great 'lost' Northern Irish bands, That Petrol Emotion emerged out of the ashes of the Undertones, fusing a heady political brew to their garage rock swagger. However, as is the case with many things, they never really lived up to their initial promise, finally imploding in 1995. However, one thing old punks rarely do is lie still for too long, and this summer finds them back on the reunion circuit.Ìý

The first thing that strikes you about them is how overlooked Damien O'Neil is as a guitarist. He churns out power chords and solos with a bizarre 'relaxed urgency' - it's like he could erupt with the most mind melting riff at any point if he wanted to, but he'd do it with a smile on his face. Between him and co-guitarist Raymond Gorman, the band has quite an impressive line-up of six-string manglers.Ìý

But it all falls to frontman Steve Mack to hold it together, his distinctly 'old school' style of performing finding him careering around the stage, making all manner of stadium rock moves. It doesn't always work, but he does cut an impressive figure, emoting to the crowd like a less pudgy Jim Kerr of Simple Minds.

However, the real problem with their set seems to lie in the schism at the very heart of the band. It appears that on the one hand, they aspire to be the massive, stadium sized band they once seemed destined to evolve into, all sweeping U2 gestures and BIG statements. But on the other hand, they are a superb grungy, garage rock band, not unlike Screaming Trees when they first started. Songs like 'Big Decision' and 'It's a Good Thing' have that raw, churning intensity, the sound of the candle being burned at both ends. But 'Last of the True believers' cries out for a proper 'arms in the air' style welcome.

Either way, they are well received, and for a few moments, you find yourself wondering what could have been.

This is a high:Ìý'Big Decision' really sounds like the massive pop hit it should have been, but never was. Also, a surprisingly young crowd. Which obviously had nothing to do with the fact that Friendly Fires were on afterward. Nothing at all...Ìý

This is a low: When an overjoyed reveller is invited on stage to run about and shake his belly, before being shooed off the stage.

Oxegen rating: 6/10

Hot Press New Bands Stage, Sunday 12th July, 4pm

Describe in a Tweet:ÌýBoom boom, tsch tsch, twang twang... indie rock!

What happened:ÌýSomeone above is looking down on the Bombay Bicycle Club today. Four minutes before their first song and the heavens predictably opened up, turning an audience of about forty into roughly a thousand soaked bodies.Ìý

Time for the London four-piece to step up to the plate and show Punchestown what it's made of. Lead singer Jack Steadman belted out the first few lines of 'Dust On The Ground' and any bad thoughts of the god-awful weather were blasted from everyone's soaked heads. He looks young... because he is young, but his voice is a few decades ahead of him. 'Always Like This' is the sort of song your mum would like. Part Vampire Weekend, part Interpol, and everyone ate it up.Ìý

I suddenly noticed something that was one, aÌýrarityÌýat this year's festival, and two, a surprising change. There were absolutely no synths in sight. The synth revolution is alive in the form of Passion Pit, Calvin Harris and Little Boots, but so still lives the bedroom indie dream.

This is a high:ÌýAlways Like This - I admit, I danced a little.

This is a low:ÌýThe unwelcome return of questionable weather to Kildare.

Oxegen rating: 7/10

The O2 Stage, Saturday 11th July, 11:35pm

Describe in a Tweet: Nick Cave kicks and gyrates to, with out doubt, justify his legendary status.

What Happened:ÌýAh, festivals. Trying to fit everything in left meÌý20 minutes late for Nick Cave, so I had to make a speedy bee line for the distinctive gravelly voice emanating from the O2 stage.

I arrived in time for 'Henry Lee' before Cave declared he was "attempting to open up the heavens" with his next song. 'We Call Upon the Author to Explain" roared through the crowd, vibrating the ground under our feet and punching us in the chest in a wave of audio debris.Thankfully the rain stayed away while we were put through the extreme elements of the Bad Seeds ferocious onslaught.

Warren Ellis scrambled on the ground, twitching at pedals and making glitchy strangeness that demanded the casual listeners attention. While Nick Cave cemented the title of sexist, most devilish performer I have ever seen. In fact, I have personally elevated Nick Cave to the status of a demi-god.

They followed by 'a song to weep ourselves to sleep', aka 'The Weeping Song', 'The Mercy Seat' and the poppier 'There She Goes, My Beautiful'. But it was under a wash of burlesque red light that Cave and Co. began 'Stagger Lee' and their true brilliance shone through. With CaveÌýgyrating, strutting andÌýkicking the air he brought elements of a dark, gritty, seedy world to Oxegen. Ending the set in a vitriolic barrage, he left the crowd stunned in awe of what they just saw. Legend.

This Is a High: TheÌýunbelievableÌýstage presence that few will ever be able to match.

This Is A Low:ÌýThe only low is missing the first 20 minutes of the set.Ìý

Oxegen Rating: 10/10

Main Stage, Saturday 11th July, 8.25pm

Describe in a Tweet: One set like this a year would see us right. For life.

What happened:ÌýÌýThe Yeah Yeah Yeah's set was when the heavens opened, but Elbow was when it got seriously wet. The rain was simply overwhelming. For many acts, this would end as a wretched affair but such is the affection for these northern gents that nothing short of a nuclear strike taking the stage out altogether will make a difference. This lot MEAN something to people. The sense of connection is palpable as is the realisation that the average age of the crowd has just increased by a decade at least...Guy is one of us, himself totally drenched by the rain which by this time has become horizontal squalls, forming vast puddles on the stage and, most likely, the guitar amps and keyboards.Ìý

'Leaders of the Free World' is a reminder of the pedigree of a band on their fourth top 20 album whileÌý'Grounds for Divorce' and the 'One Day Like This' reduce grown men to giddy, bouncing loons. Well good.Ìý

This is a high:ÌýThe entire crowd being urged by Guy Garvey to stick a two-fingered salute to the plump, black rain clouds above.Ìý

This is a low: ÌýThe above backfiring spectacularly.Ìý

Oxegen rating: 8/10

Main Stage, Saturday 11th July, 11.30pm

Describe in a Tweet: KOL - Rain stoppingly good.

What happened:Ìý We were wondering how the Kings of Leon would work in the rain - it seemed like such an alien concept.

We shouldn't have wasted time thinking about it - Kings of Leon are so irritatingly cool that, despite everyone blowing up rubber dinghies at 10pm, by the time they come onstage we're enjoying a nice, mild, July evening. Perhaps they had a word with the big man, but i doubt they needed to - seems *everyone* loves this band. Their performance tonight outlines why.

This is a high: Realizing that even though they've played 'Molly's Chambers, 'Four Kicks',Ìý'Sex on Fire'Ìýand 'Charmer' within about thirty minutes, we've still a bunch of mammoth hits to look forward to. This band are armed and dangerous. 'Fans' and 'Manhattan' are notably awesome, simply because their warmth is appreciated after the day we've had. Oh, and 'Closer' is a highlight of the entire weekend.

Also - the lengthyÌýspeech about them waking up every day and thanking God they're so lucky to have such wonderful lives (and how theyÌýincredibly grateful to fans like those here at Oxegen)Ìýwas both surprising and genuinely touching.

This is a low: ATL is a little disappointed and slightly bitter that a comparatively new band have pretty much wiped the floor with Blur, in the crowd reaction stakes at least. That's only because we're so old, though.

Oxegen rating: 8/10 Ìý

The IMRO Stage, Saturday 11th July, 7:30pm

Describe in a Tweet: Annie Clarke & co. make a wave of noise that knocks you for six.

What Happened: The last time I seen St. Vincent, aka Annie Clarke, was as a lone performer looking lost on stage at the Spring & Airbrake in Belfast. However her best efforts were largely ignored by the bustling crowd waiting for The National to headline.

Today she returned and this time with one helluva band. What sounded like beautiful strange pop songs solo turned into loud, in your face, gut tearing rock with the band. Annie commands the stage with an eccentric confidence. And it's this confidence that highlights her absolute ease in what she does.

These beautiful, crafted tunes are ripped into life with a clatter of noise that smacks you in the face. And it's the energy from the band that has left St. Vincent engrained in my mind.

This Is a High: Sheer volume and power hitting theÌýexpectant audience.

This Is A Low: The poor sound that bounced around the tent.

Oxegen Rating: 8/10

IMRO Stage, Saturday 11th July, 10pm

Describe in a Tweet:Ìý Nice guys finish first.

What happened:ÌýÌýThere's something to be said for politeness. In a weekend that involves a lot of pushing and shoving, mud and dirt, and the occasional over-exuberant reveler, its refreshing to see a gang of four very well turned out and well mannered gentlemen, for this is exactly what Director are. Their brand of bass-driven, 80s influenced indie has been done to death in recent years, but Director bring a refreshing level of restraint to the proceedings, allowing hidden subtleties to emerge.

The textured guitars do the usual reverb-y interplay, focussing on 'feel' rather than 'melody', but there's a level of artifice and construction in the Director sound that it becomes completely intriguing, demanding that you pay attention to the intricate twists and turns that they take you on. All the while, bass carries the melody, whilst the drum keep you moving.

But the real beauty of Director lies in the beautiful voices. These boys can really sing, and when they're not singing, a large part of you can't wait until they start back up again.Ìý

And when it's all over, you feel like they truly are grateful for the warm and enthusiastic response they receive. And as the rain keeps falling, and the ground turns to sludge, wouldn't we all like to feel that little bit more appreciated?

With a few more performances like this, it won't be too long until an awful lot of people are appreciating Director.

This is a high:ÌýFinal track 'Easy to Me' has a wonderfully intricate coda, and at one point featured Thin Lizzy-style twin guitar attack! But in a wonderfully pleasant and charming way..Ìý

This is a low:ÌýOther than the fact that it's still wet, muddy and a little bit cold, there's noting too much to complain about.Ìý

Oxegen rating: 8/10

Heineken Stage, Saturday 11th July, 8.25pm

Describe in a Tweet:Ìý Rock and roll gets a long overdue reinvention.

What happened:ÌýFrom the second the first note explodes in our eardrums, it's obvious that this one is going to be personal. TV on the Radio are a band as inventive as they are divisive - this music is unlikely to ever reach mass acceptance. Not that it matters, as that tired old format of rock and roll gets dragged kicking and screaming into the future. As the polyrhythms and waves of sound overlap with each other, there's a distinct sense that TV on the Radio are so far ahead of the game that they might as well have come from the future.

The guitars of Kyp Malone and David Sitek blast forth from the stage, like sheet metal being catapulted directly beneath the lid of you skull, and then molding around the contours of your brain in perfect harmony. And whilst your brain struggles to adapt to this perfect melding of man and machine, the drums seem directly wired to your hips, causing all manner of contortions. It's an old cliche, but this truly is music for the brain and the body. Without sounding anything like them, TV on the Radio conjure the radical reinvention of Talking Heads in their prime, with frontman Tunde Adebimpe taking David Byrne's nerdish academic persona and twisting it into something much more visceral and funky. This guy can move!

And by goodness, we moved with him.

This is a high:ÌýSet closer 'Staring at the Sun' provided an anthemic blast from the past, and ably showed how far this band have come in a relatively short time. And it made s shake our funky asses.

This is a low:ÌýThis tent is dark. Very dark. So it makes no sense for people to sit on the ground, wearing darkly coloured waterproof clothes. It's no wonder they get trod on.

Oxegen rating: 9/10

Hot Press New Bands Stage, Saturday 11th July, 8.00pm

Describe in a Tweet: Tiny pop cliche machine wins over entire tent in a mere 3 songs.

What happened: A mixture of media hype and apocalyptic weather conditions meant the New Bands tent was rightly crammed for Victoria Hesketh's (aka Little Boots) first Irish appearance.

Little Boots came on stage in a bizarre gold cocktail dress and high heels, a welcome or at least refreshing change from the legions of jeans and cardigan clad indie bands that had proceeded her.

The synth setup on stage would have made even the quiet one from the Pet Shop Boys blush, various Korgs and Casios surrounded the tiny singer. But when they kicked in for first song 'Earthquake', the entire tent was stuck in a disco-trance, with the svelte mistress of ceremonies dictating it's every move. And oh yes... it danced and moved as one.

The Eurythmics inspired fast paced single 'Stuck On Repeat' was like an antidote for the absolutely stinking weather on the other side of the canvas.

I'd had my doubts about how without the safety net of world class producers molding and shaping every note, the album 'Hands' would transfer to the festival format. But my grumblings were pretty much blown out of the water a mere three songs in. 'New In Town' is one of those bubblegum throw-away disco singles I usually love to hate, but on hearing the jerky intro kick in I was an instant convert to the Little Boots army.Ìý

The tired comparisons to any other female singer with a heartbeat have been thrown about all weekend. Lady Gaga and La Roux seem to fit the same mold, but Little Boots definitely broke it.

This is a high: New In Town

This is a low: Sweaty sweaty Betty in the packed tent. A light mist was starting to appear in front of the stage

Oxegen rating: 8.3/10

Main Stage, Saturday 11th July, 7.10pm

Describe in a Tweet:Ìý Hurricane Karen hits Oxegen.

What happened:Ìý The rain and wind are hammering against the stage, promting ATL to wonder if it hasn't somehow managed to make it's way onto the deck of a boat in the middle of a typhoon, instead of the main stage at Oxegen. However, Karen O, Nick Zinner and Brain Chase slink out onto the stage, and look the storm head on - IT'S ON!

However, the weather literally eats up the sound coming from the stage, leaving little but a low drone and a pounding beat. However, Karen O still manages to have the crown in the palm of her hand, howling and panting, twisting and turning. She's such a consumate perfromer, that it's almost impossible to imagine her doing anything else. This woman was built for the stage.

Recent hits 'Heads Will Roll' and 'Zero' get an enthusiastic reaction from the crowd, but the set is distinctly uneven New material seems unfocussed, greeted with little enthusiasm from the crowd. 'Date With the Night', on the other hand, provookes something akin to an earthquake. But the real highlight is a stripped down version of 'Maps' (due to technical issues, apparently). Stripped down to it's emotional core, this song somehow manages to be even more moving than the recorded version, the haunting fragility of the song framed by the appaling conditions in which it is perfromed.

"It's a battlefield up here!" Exclaims Karen O at one point. It was no picnic out front, either.

This is a high:ÌýKaren O's beaming smileÌýcouldÌýwarm even the coldest heart.Ìý

This is a low:ÌýAt this point, the weather could probably be described as "biblical".Ìý

Oxegen rating: 6/10Ìý

IMRO Stage, Saturday 11th July, 6:35pm

Describe in a Tweet: Anthemic beatsy epic sounds from the small troupe fill the ears of many a stranger.

What Happened: The rain just keeps on pouring but thankfully for Joe Echo, aka Ciaran Gribbin, he's got the comfort of playing in the IMRO tent. Along with the perk that is shelter, a rather great crowd packs into the tent for some anthemic beatsy soulful tunes - if they know it or not.

Joe Echo, as an entity, makes a far bigger noise than its numbers. On top of the backing tracks and loop station,ÌýCiaran is joined by his younger brother, John Gribbin, and songstress Shauna Tohill on stage.

They play quiet a diverse set from the fairly well known,'Tillys Cowboy' to the slightly darker 'Damage' and the incredibly beatsy 'The Heart That Knows Desire' and 'Sold Out Hallelujah'.

His vocals are strong and the songs are there. My only real gripe with Joe Echo is that I wish he had a huge band to play live with him. The ridged electronic beats grind a bit after a while and there's some aspects that are just crying out for more energetic performances. At the same time though, there were 'rave' like moments which gave an incredible burst of energy to the set.

This Is a High:ÌýThe sing along moments in 'Sold Out Hallelujah' and John Gribbin announcing there's a party in B26 on stage.Ìý

This Is a Low:ÌýMy personal longing for more live performers and less backing track.

Oxegen Rating:Ìý7/10

Hot Press New Bands Stage, Saturday 11th July, 6pm

Describe in a Tweet:Ìý The one we'll all be talking about, whether we were there or not.

What happened:Ìý The big(ish) question amongst fans of the current cut and paste maestros, was whether they could pull it off live. They can.

This is a high: Having to blag your way into a tent thats so full people are making do with listening outside- it's reassuring to know a lot of people are aware of the majesty of this band. Then realizing you could actually hear what was going on, despite the somewhat scatty and gloriously unhinged nature of the music they make. 'Sleepyhead' proves that Michael Angelakos actually *is* making that wonderful, child like noise on vocals while 'The Reeling' tears the place apart. I'd say a good two thirds of the crowd know these songs, but by the end every single punter is singing along. This years Vampire Weekend, anyone?

This is a low: The only low point of a memorably show was when this reviewer stood in a massive pool of what we can only hope was your normal, run of the mill watery mud and not...well, you know.

Oxegen rating: 9/10

IMRO Stage, Saturday 11th July, 5:40pm

Describe in a Tweet: The young Wicklow lads have the songs but a bit more practice would do them no harm.

What Happened: Nightbox launch into a barrage of hooks and shout along choruses that The Fratellis would be proud off. But musically it's moreÌýCajun Dance Party meets The Holloways via Vampire Weekend. They have some good songs in the mix and instrumentally the band are pretty much together. But it's the vocals that let them down today. With 3 part harmonies, Ìýinterchanging vocals and syncopated yelling - it would need a lot of practice to pull off well. Today, however, the vocals fall flat on many occasions.

The good thing is that when mixed with their infectious indie pop, you can forgive them. But it's something they'll have to tackle before progressing anywhere near to the standard of their influences. Still, they're giving out their EP free to the punters, so maybe they might pick up some new fans today.

This is a High: Medley of MGMT and Kings of Leon that actually worked well.

This Is a Low: The flat vocals that spoiled some really good songs.

Oxegen Rating: 5.5/10

Hot Press Stage, Saturday 11th July, 4.00pm

Describe in a Tweet: Could this be the anthems for next year?

What happened: The Hot Press New Bands stage is a huge cavern, with sound ricocheting all around its many peaks. This is a situation that does not benefit Sydney's Howling Bells in any way. Their recent album, 'Radio Wars', succeeded because of the band's masterful use of tone and texture, rather than on the strength of it's songs. In this environment, all the stately grandeur and layered sound is completely stripped, occasionally sounding like a tuneless mess. However, there is more to Howling Bells than just atmosphere, and when the band really tear into their material, it'sÌýa completely different story. Jagged shards of melody fire out, whilst rhythms rumble on, driving everything forward. The 'Radio Wars' material comes alive, like a shift from black and white to technicolor.

Frontwoman Juanita Stein provides and arresting visual focal point, delivering what can only be described as a 'sexual' performance. Swaying and sashaying seductively against her fellow bandmates, she is completely captivating. And as much as she demands our attention, the music becomes more and more anthemic, to the point where one could easily imagine this on the main stage. Final song, 'Radio Wars', the title track of the album, is completely spellbinding. Military rhythms mesh with a doomy, dramatic atmosphere, the band flailing about like marionettes. As the last note hangs in the air, the band fall prone, their strings cut.

Hopefully they'll be repaired in time for next year.

This is a high: The all out drum assault at the very end with Juanita pounding on a drum of her own. The sound was so intense, I thought my heart might explode out of my chest.Ìý

This is a low: SomeÌýof the slower songs were so muddled that it became impossible to detect anything even vaguely approaching a tune.Ìý

Oxegen rating: 7/10

The O2 Stage, Saturday 11th July, 3PM

Describe in a Tweet: Infectiously ecstatic front man makes everybody embrace a rock n' roll drenching.

What Happened: Arriving on stage 25 minutes later than planned, The Gaslight Anthem don't seem phased by theÌýconstantÌýdown pour. And neither does the crowd that has waited patiently for this 'band of the moment'.

'High Lonesome' sees them blaze into their set with lead singer, Brian Fallon, grinning like no man I've seen before - and I'm amazed at his ability to sing his lungs out at the same time too. 'Old White Lincoln' broke in the middle with Fallon collapsing to the ground and then encouraging the 'Irish Timing' to clap the song alive again. This man is a stage genius. His energy, enthusiasm and joy infected the soaken crowd who clapped in (semi) unison.

'The 59 Sound' and a cover of Tom Pettys 'American Girl' Ìýwhere the highlights seeing the punters dance, cheer and clap in pure rain soaked bliss. The Gaslight Anthem ploughed their way through pretty dismal weather to be one of my surprise highlights of this year's festival. I'm converted.

This Is A High:ÌýThe lead singers endless energy and winning grin.

This is A Low: Rain, rain, rain...

Oxegen Rating: 8/10

Heineken Green Spheres, Saturday 11th July, 2pm

Describe in a Tweet:ÌýFred: The Rebel Blur

What happened:ÌýSo just when you thought this band couldn't get any better live, they start adding strings, brass and extra saxaphone. This was always going to be fun.

This is a high: It's one big highlight, really, but it all seems to be building to 'Running'. They kind of milked the build up, but all that does is get a (remarkably busy) arena all riled up. By the time that daft little brass riff drops, everyone's onboard and we've got ourselves a proper 'moment'.

'Skyscrapers' proves it wasn't a fluke and the end of this set is greeted by visible disappointment all round. Seriously - they owned it.

This is a low: I guess lead singer Joe could have done a little more dancing - when he was wigging his bum it looked kind of funny.

Oxegen rating: 9/10

Main Stage, Friday 11th July, 11.10pm

Describe in a Tweet:Ìý Everything we hoped for. And a wee bit more :'-)

What happened: What happened was that team ATL kind of lost their collective mind. We talked about little else all day - interviews, reviews and dinner barely acted as a brief diversion away from our own ridiculous levels of hype. We pack up our gear early and a good forty minutes before show time we blag our way into the pit and set up camp about four people back, right smack in the middle.

To give this a little context - we're all approaching or embracing our fourth decade, so this isn't necessarily something we'd do on a regular basis. Needless to say, when Damon, Graham, Alex & the drummer dander on and open with 'She's So High', we're not so much hugging each other as holding each other up. It's all a little....festive. We're emotional.

This is a high: 'This is a Low' would be the obvious answer, but it's literally impossible to decide on a single stand out tune. A straw poll among team ATL suggests 'End of a Century', a Daniels-free 'Parklife', 'For Tomorrow' and 'The Universal' were all highlights, but the truth is that every. single. track was an absolute treat. 'Oily Water', 'Advert' and 'Trimm Trabb' are about as 'obscure' as they get, while 'Tender' and the inevitable 'Song 2' carnage seem most welcomed by the masses.

Damon is genuinely grateful (when he's not babbling absolute nonsense), dedicating songs to Irish legends Leo Finlay (a music writer who's wedding hosted Blurs first Irish show in 1990) and Joe Dolan.Ìý

Graham is smiling a great deal (even during a ridiculous 'Country House') and rolling about the stage, Alex is... well, just being Alex. Legends.

This is a low: It shouldn't come as a surprise I suppose, given a fair whack of this crowd were toddling during that whole Britpop madness, but it seems hardly anyone knows the vast majority of this setlist. There's enough anticipation for the four or five songs everyone knows and loves, but the likes of 'Chemical World' and even the wonderful 'Badhead' are greeted with a collective shrug. As if we didn't feel old enough down the front, it's almost as if we're getting weird looks for singing every word. Hardly matters though, we had our fun.

Oxegen rating: 10/10Ìý

IMRO New Sounds Tent, Friday 10th July, 00.25am

Describe in a Tweet: Rabble rousing gin-soaked rock'n'roll wins through.

What happened: Having pleased ATL playlist makers in the past, expectations are already high, but hitting the ground running with 'Down at the Radiotron', Stef and his shaggy workmates are instantly in some kind of irresistible dirty blues rock groove. It's confrontational but inclusive, the crowd urged to join the crusade of noble dissipation. Another possible victim of the Blur juggernaut, but all stragglers walking past the tent are instantly caught in the net and press-ganged to take the Queen's shilling.

This is a high:'Poisonous Love' is indebted to the Bad Seeds for sure, but a finer shanty you're unlikely to hear this side of the Cape of Good Hope. Harrrrr!

This is a low:ÌýShortness of the sets means that momentum can easily be lost. 'Death Threats' threatens to derail proceedings, but not for long.

Oxegen rating: 8/10

IMRO New Sounds Tent, Friday 10th July, 11.25pm

Describe in a Tweet: Artpop v Britpop in fight for the very soul of music*

What happened: Like King Canute in reverse it is impossible to resist the waves moving away from the IMRO tent, but resolutely refusing to give a hoot, Yes Cadets impress with a tenacious race through some of the freshest sounds emanating from the North of Ireland. 'Fashionista Art Party' is all petulant yelps and angular high-pitched guitars while 'Canada' cements its place as definite future single. Having something to be defiant about can galvanise a set and the immense buzz over a reformed Blur in direct opposition serves as a serious catalyst.

This is a high: The whole set is reassuringly solid, given the lightness of back catalogue. This bodes very well indeed.

This is a low: Comedy turnout, due to Blur pleasing their accountants at the main stage.

Oxegen rating: 7/10

*slight exaggeration

Heineken Green Spheres, Friday 10th July, 9.25pm

Describe in a tweet: Colossal funk machine requires no oil.

What happened: Some say it is rude to join a party late, but the recently lean and hungry looking Mick Pyro and his eleven-strong Republic of Loose don't mind at all. We're all very welcome. Make no mistake though, you'll not be making yourself feel at home. It is business time.

The ridiculously massive tent (capacity 11,000 apparently) is patchy in numbers to begin with, but the Loose can always rely on their snake-hip voodoo hoodoo and steadily the enormodome fills from all angles. 'Shame', starts to push up the temperature, 'I Like Music' brings it to the boil, with 'Break' and 'Comeback Girl' bubbling over into something close to rave hysteria. There have been some cod tributes to the late Jacko already at this festival, but 'Wannabe Startin' Something' is the genuine article, the lineage and musical debt obvious - but repaid in full.

This is a high: The singalonga-Mick-Pyro moment during Comeback Girl lasted about three weeks and induced utter pandemonium.

This is a low: There is nothing even remotely approaching a musical low, but why can't the spides just find the dance arena and stop bashing around into regular decent folk like some pretty unfunny Buckfast pinballs?

Oxegen rating: 9.9/10

Red Bull Music Academy, Friday 10th July, 7.30pm

Describe in a tweet: Glacial chill thaws to reveal a pulsing heartbeat.

What happened: The reaction of the crowd defines the word 'enthusiastic'. Really, all M83 would need to do in order to elicit mass hysteria would be to appear bored, and fiddle with their instruments. Which is handy, as this is exactly what they do, the crowd loving every disinterested moment. (At one point, one of the band removes their jacket, which causes a few revelers to start cheering with something approaching rapturous insanity.)

However, as the set goes on, the band's brand of fuzzy electronic shoegaze starts to tighten into something much more interesting, as the beats get harder, and the energy levels start to increase. About six songs in, and the band are finally earning the reaction they provoke. Drums pound, bass frequencies throb, and wave after wave of sound laps against our ears. By the end everyone in the crowd has their hands raised in the air, having been transported somewhere very special indeed.

This is a high: At one point, the crowd are moving as one. Everyone is jumping up and down, and the whole building appears to have a human heartbeat.

This is a low: At one point, chewing gum is removed from one of the vocalist's mouth, and held atop her finger. It's an unsavory image, to be honest.

Oxegen rating: 7/10

Hot Press New Band Stage, Friday 10th July, 8pm

What Happened:ÌýArriving at the tent, I couldn't help feel a bit apprehensive. With Mr. Archer about to go on stage, the tent is looking a bit miserably sparse. But regardless, Iain takes to the stage with a polite hello and a chugging rhythm on the guitar.

This first song is called 'Acrobat', and it kind of washes over the audience. Relying on a loop pedal to create a bigger sound for the song, it was left swimming with reverb around the empty tent.

Soon the tent began to gather a few straglers, and an atmosphere began to build. Being accompanied by a backing band for the rest of the set also helped massively in engaging with the audience

He played a number of new tunes, as well as the old favourate 'Canal Song', mixed with stories and anecdotes throughout the set.

He ends the set with an old couple harmonising to their hearts content (parents? randomers?) which added a lovely touch to the last song.ÌýHowever, I can't help but feel Iain Archers festival days are numbered. Not due to a pure performance,Ìýbut more to the fact that punters seem less attracted to Archers quiet acoustica than festival party bands.

Describe in a Tweet:ÌýSome touching moments but left a bit empty.Ìý

This Is A High: TheÌýold couple harmonisingÌýto finish the set.ÌýÌý

This Is A Low: Watching a lone performer take onÌýa sparse tent.Ìý

Oxegen Rating: 6/10Ìý

IMRO Stage, Friday 10th July, 7.30pm

Describe in a Tweet: What the flipping heck is this?

What Happened: A very strange mix of goth-rock and sugar pop, but no amount of feather boa guitar straps and billowy skirts can mask the fact that this band are a wee bit dull, we're sorry to say. The sole highlight being a slightly more than pedestrian cover of Blondie's 'Dreamin is Free'. Think MUSE fronted by baby spice.

This is a High: Guitarist Gregg bears a passing resemblance to Irish rugby hero, prompting discussion as to whether a blister from his six string could be the reason for the Lions' recent tour demise.

This is a Low: Oh where to begin...

Oxegen Rating: 4/10

Heineken Green Spheres, Friday 10th July, 6.20pm

What Happened:ÌýÌýFight Like Apes' synth player 'Pockets' looks like a beardy wrestler from my childhood, Hacksaw Jim Duggan. It doesn't help that he's jumping off the stage with a prop chair to batter a 'reveller' in the front row to death. Well, ok... he doesn't quite bludgeon one of his fans in to the next world, but he gives him a good friendly 'whack'. Fight Like Apes expect a lot from their fans in return for the eye-ball melting devil music they produce on stage. Singer Maykay is a little more composed. As Pockets (when does he actually get time to play the synth??) climbs part of the stage, Maykay is urging the crowd to waltz to Lend Me Your Face. The crowd obliges of course, probably not wanting more beatings from the chair. Now for a cover. It was by a long gone band called McClusky and had a rather rude name. Google it children.

FLApes didn't need the rain to fill their tent. They did it the old fashioned way, by playing ridiculously loud and quite frankly terrifying rock. By the time it came to the last two songs 'Do You Karate' and 'Battlestations' people were gushing in to the tent in droves.

But they were too late, it was over. ButÌýI saw it all.Ìý

Describe in a Tweet:ÌýÌýOooooooh these FLApes are on fire...

This Is A High:ÌýPockets setting off a fire extinguisher on stage, "oh you cheeky scamp!"Ìý

This Is A Low:ÌýStanding in a massive 'stealth puddle' which was hidden with lots of straw. Genkin.

Oxegen Rating: 8/10

IMRO Stage, Friday 10th July, 3.30pm

Describe in a tweet: Bringing a staggering swagger to the IMRO stage that lured in the passing traffic.

What happened: From the opening strains of 'When Jackie Shone', it's obvious that this is going to be a great set from the Cashiers. The place is almost literally empty, but the bold strategy of starting with the strong stuff pays dividends. By the time 'To The Death of Fun' and '42 West Avenue' have been rattled through the numbers have swelled and a fair proportion of the crowd are dancing their long cotton stockings off. There's no drop-off from the band though. 'Jump The Queue' is a highlight, and you can tell that there have been quite a few converts made this evening. Rightly so, this is a band with all the ingredients to have even people who weren't here talking about this appearance in years to come.

This is a high: Danny's cry of "We're Cashier No.9 - from Carryduff". Northern Ireland's Seattle finally getting a bit of cudos.

This is a low: If there was one, it was probably the sparsity of the crowd. It's a crying shame when people don't realise there's a band of this calibre playing right under their noses.

Oxegen rating: 9/10

Hot Press News Bands Tent, Friday 10th July, 5.00pm

What Happened: You can't beat a little bit of lovely folk indie on a soggy afternoonÌýand this cameÌýus in the form of charming little indie outfit called Mumford & Sons. The name would be more fitting for a chocolate shop or a saville row tailors than a folk band from Lond. Their mum's must be proud. The four peice timidly came on stage to the cheer of a small group near the front of the crowd. The rest of the festival goers pretty much ignored the band until they started the first song.

Whispery vocals and a gentle folsky rhythm played on a banjo suddenly had the whole tent's attention. By the third song and the bands only single 'The Cave', a soaring catchy anthemic ballad, had the entireÌýaudience was dancing away. Someone beside me commented that "they sounded a lot like Noah And The Whale but good...", I had to agree. Lead singer Marcus Mumford looked a bit overwhelmed by the reaction, claiming to his newÌýfans "I think we've made a few friends today...I think." His new buddies clapped and roared in approval.ÌýÌý

Describe in a Tweet: Like aÌýgood version ofÌýNoah And The Whale, with lots of tweed and banjos.Ìý

This Is A High: The songÌý'The Cave', sounds a lot likeÌýOkkervil River...which is a good thingÌý

This Is A Low:ÌýEven in a short 25 minute set, there were a few dodgy tunes.Ìý

Oxegen Rating: 7/10

O2 Stage, Friday 10th July, 5.10pm

Describe in a Tweet: A smoking crater is all that remains...

What happened: At one point during 'Crooked Timber', the title track from their most recent album, Michael McKeegan's bass exlodes forth from the speakers like a Panzer division, crushing the audience beneath it's iron tracks. All the while, Andy Cairns and Neil Cooper hover overhead, layering a blitzkrieg upon the survivors. From the moment they leapt onto stage, Therapy? owned this crowd. Looking every part the rock gods that they are, they ploughed through all the classics, giving their audience exactly what it wanted. 'Innocent X', 'Teethgrinder', 'Potato Junkie'... they all got an airing, and sounded as fresh today as they did when we first heard them in the previous century. Alongised this, 'Die Laughing' (dedicated to Michael Jackson', 'Screamager' and 'Nowhere' whipped the crowd into such a frenzy that a mosh pit erupted, bodies being hurled in all directions. This was the stuff of legend, and few who were there will ever forget it.

This is a high: 'Innocent X' sounded so incredibly awesom that 'Evil Priest' Micheal McKeegan finally achived his intention of creating "bowel shaking bass."

This is a low: Some of the slam dancing was, shall we say, a little over-exhuberant, but it all got under control pretty quickly.

Oxegen rating: 9/10

Heineken Green Spheres Tent, Friday 10th July, 3:20pm

What Happened: Day 1, Act 2, And it's already begun to bucket down. Thankfully, for God is An Astronaut, that's a bonus. It's clear the band has a pretty dedicated following, but as the tent fills up nicely, you can't help but feel many are here for shelter alone.

They took to the stage to the sound and vision of static, which prepared the crowd for what was to come. Loud, abrasive, apocoliptic noise wasÌýjuxtaposed with beautiful,Ìýintricate post rock moments.ÌýThereÌýwas definitly something a bit 'rawk' about this post rock outfit. And there were a few moments that seemed a little bit over the top.Ìý

But it's the visuals that really carry this band.ÌýEerie imagesÌýof gas masks, riots, war zones and burning infernos give the whole sound that extra dimension. They aren't the most entertaining musicians you'll ever see, but set to these visuals, everything makes more sense and becomes more intense.

The crowd grew bigger throughout the set, with bodies shuffling along to the afternoon epic noise fest. It's obvious their fans were out today, and the last (and only word) from the guitarist was to thank them for their support down the years. Feel the love!

Describe in a Tweet: Visual heavyÌý- audiablyÌýloud! EpicÌýpost rockers embraceÌýthe love.

This Is A HighÌý: The evangelical tv preacher manipulated visuals.

This Is A Low: The poor tabla player who never had a chance of being heard.

Oxegen Rating: 6.5/10Ìý

Hot Press New Bands Stage, Friday 10th July, 3.00pm

What happened: Singer-songwriter Priscilla Ahn was happy to be at Oxegen. Actually, Priscilla Ahn was very happy to be in Ireland, thanking everyone in the News Bands tent about ten times before she even started her first song. The set started with a deafening dose of feedback and then a flurry of apoligies from the terribly polite front-woman. Her first song was a lovely melodic number, I think. The sound from the main stage where the Coronas had just started was all anyone in the tent could hear. By the second song her sound engineer had caught on and put the volume up, to the cheers of the crowd. Her vocals suddenly filled the tent, reminding Atl of Neko Case and Broken Social Scene on the song 'I Don't Think So'. For the next song the drummer moved from his kit to a tiny xylophone, which he proceeded to hook up a a massive ampÌýThe song was called 'Boobs', and as Priscilla explained, was about her jealousy of her boyfriend's ex's ample chest region. Then started the predictable taunts from a bunch of lads in white body-suits and dust masksÌýabout her own 'upper-chestal region'. She took it in her stride and started the song. TheÌýdrummer pulled off an impressive and unexpected xylophone solo. He threw the sticks in to the crowd as he finished, to the cheers of theÌýbody-suited lads in the corner.Ìý

Describe in a Tweet: Chilled out singer-songwriter sings about boobs

This Is A High: The song "I Don't Think So"

This Is A Low: First-day festival sound problems

Oxegen rating: 5/10

Heineken Green Spheres Tent, Friday 10th July, 2.45pm

What happened: Atl decided to start the festival off on the rock foot. With the rain coming on it was an easy descision to pickÌýWicklowÌýband theÌýDirty Epics in the Heineken Green Spheres tent. The crowd seemed rightly up for it and lead singer SJ pranced around the stage like her life depended on it. The last time I saw the Epics was in a packed Limelight. But their set has transfered well to the festival format. With two songs to go the heavens opened up over PunchestownÌýand soon theÌýaudience had doubled. Being the first band on canÌýbe mixed blessings for aÌýnew bandÌýbut by the last song the Dirty Epics had theÌýwhole tentÌýmoshing away.Ìý"This is our last song," said SJ, "It's calledÌý'Pony' and it's about riding..."ÌýThe Dirty Epics have set not only the bar for the rest of the festival, but the tone too.

Describe in a Tweet: Dirty Epics were the revels to Oxegen's soaked revellers.

This AsÌýA High: Lead singer SJ rocking out in a black dress.

This IsÌýA Low: First human pyramid collapse, epic fail.

Oxegen rating: 6/10

Ìý

***THE MUST SEES***

Main Stage, Friday, 11.10pm
Alongside RATM last year, probably the most talked about Oxegen performance ever. The ten or so years since they last played as a four piece was just enough time for us to realize how much we missed them as a festival staple and just how many amazing songs they have in their arsenal. Coxon, Albarn, Rowntree and James and all the hits from those seven incredible albums. It's going to live up to the hype. It's going to be magical.

Heineken Green Spheres, Sunday, 5.15pm
A perfect festival band - credible but with massive tunes, new and exciting but not so cool that the tent will be full of punters who just want to be seen. And have you seen that guy dance?

***THE OLD RELIABLES***

Hot Press Stage, Sunday, 10.35pm
Seriously, you've forgotten just how many big songs they have.

Main Stage, Sunday, 10.10pm
I'll not lie to you listeners, by the time this lot take to the stage, we'll be half way up the M1. Mr Northside. All being well, we'll have a mountain of video and audio to put on our website and broadcast on Monday night - and that stuff doesn't edit itself. But assuming you're still alive by Sunday evening, The Killers have a lot of recognizable songs you may enjoy singing along to. Fill your boots.

***THE NAMES TO DROP***

Hot Press Stage, Saturday, 6pm
The album is great, but it sounds like samples picked at random and thrown down the stairs. Live, it shouldn't work. But that Glasto coverage suggested otherwise.

Hot Press Stage, Sunday, 3pm
ATL has been over-hyping this lot since we first started playing the joyous '15 to 20'. If they're rubbish, it'll be egg all over our face and surely that's something you want to be a part of?

***THE AVOID OR DIE***

Main Stage, Saturday, 2pm
Why do they do it? There's not much to hate about Oxegen at all these days, apart from this band's mysterious involvement every year.

O2 Stage, Friday, 11.35pm.
Ach I know they're an easy target (mainly because of the singers enormous face) but they really are all types of awful. Come on now, take a wise.

***THE GUILTY PLEASURES***

Main Stage, Sunday, 4.30pm
Dopey pop songs and massive, weird looking bras. Sounds like fun to me.

O2 Stage, Saturday, 8.15pm
Strange one this - FLC were at their coolest about 12 years ago - and even then they weren't that cool. But a sneaky listen to their greatest hits suggests that, in the right frame of mind, this could be silly amounts of fun.

***THE BEST OF THE MEXICANS***

Heineken Green Spheres, Friday, 9.25pm
They're great craic altogether at the best of times, but find that mythical sixth gear every time they play Oxegen. You may think you don't like this band, but trust me, after this set you will.

Red Bull Academy, Sunday, 2.55pm
Just one guy on drums and his mate operating visuals. It's different, but it SO works. Earn yourself enough credibility points to go watch Lady Gaga guilt-free.

***THE RAVE***

Dance Arena, Friday, 8pm
They make ridiculous breakdowns to fry your brain and your bones. Exercise caution from start to finish.

Dance Arena, Friday, 7pm
Kings of the slow groove - which means reasonably laid back house tunes pitched down to about 110bpm. Assuming they don't cave in and bang it out, this will be the lushest hour you've ever had at a festival.

***THE BEST OF THE NORDIES***

Various
O2 Stage, Friday, 3-8pm
The Answer, Therapy? and Duke Special back to back on the O2 Stage on Friday evening. Three very different sounding bands doing a takeover and inevitably doing us proud. Support.

Friday, 11.25pm
Anyone with half a brain will be at Blur, of course, but keeping in mind the IMRO stage is about 2 minutes away, Northern Ireland's best new band are well worth a peak and a cheer.

***THE IF YOU'RE IN TO THAT SORT OF THINGS***

O2 Stage, Saturday, 9.50pm
Lots of people would rather microwave their own head than watch this band perform their cartoon drum n' bass, but what cannot be doubted is that they are stunningly good at what they do. And what they do is tear festivals apart.

O2 Stage, Sunday, 7.40pm
They might be a bit 'last summer', but who cares, those songs are still great, right? Right?!?!

It's easy to get carried away with it all when festival season rolls around. You've got your tickets, you've either bought a tent or liberated one from the dusty, disused corner of a relative's garage, the line up features all your favourite bands and you have gathered a hardy group of like-minded music lovers to share the experience. All you have to do now is get yourself through the gates and the good times will take care of themselves, right? WRONG! Don't be one of the naive people inwardly repeating the mantra above - arm yourself with ATL's wily range of top tips below to ensure that your festival experience isn't peppered with regret.

DO: Go and see at least one band you've never heard a note of in your entire life. What's the worst that could happen?

DON'T: Stand near a couple lovingly cradling each other in the middle of a mosh pit. One or both of them will inevitably become extremely upset as they get crashed into. You, as the meat in a mosher/loving couple sandwich, will likely become the focus of at least one person's ire. MOSH PITS ARE NO PLACE FOR PUBLIC DISPLAYS OF AFFECTION PEOPLE - NO PLACE AT ALL!!

DO: Attempt to imagine the feeling of being dunked in mud by a group of over-zealous bumpkins who have never before been in the presence of festival-going sophisticates like yourselves. Not being familiar with your type, they will mistake their confusion for fear. Their fear will likely lead to a cry of "YYYEEEOOOWWW" and them careering towards you at breakneck pace before dumping you face-first into the mud. If you suspect that you will not like this feeling, perhaps this festival is not for you.

DON'T: Forget to personalise your tent. Year after year, people seem to overlook the fact that tents are mass manufactured and therefore look almost identical. This means yours can be pretty hard to spot in a field featuring thousands of tents, particularly when it's dark and you may have imbibed a judgement-impairing jar or two. Smack a bit of paint on it, attach a large inflatable banana, surround it with barbed-wire security fencing complete with a 30 megawatt spotlight and small electricity generator - whatever tickles your fancy. Not everyone's got snazzy iPhone apps with built-in GPS and the like that do the job for them...

DO: Bring your own wet-weather gear. You may find that, despite the ongoing deflation in the global financial marketplace, that an isolated pocket of hyper-inflation exists in the localisedÌýcabal of raincoat / poncho distributors on site when the rains come. Funny that.

DON'T: Wear a white tuxedo or some such ridiculous outfit. You will become a target. And rightly so. ATL does not condone what will inevitably happen.

DO: Get to the front of the crowd at the main stage and sing along ultra-ehtusiastically. With a bit of luck, you'll appear on the big screen just as you completely forget the lyrics and make a bit of a tool of yourself, thus amusing everyone in a 500-yard radius.

DON'T: Stay in a hotel and submit your pay-per-view film costs as part of your expenses. This is mainly one forÌýjournos, media personalities and assorted dignitaries that may be in attendance. Oh, and the ATL crew, who sadly don't fall into any of those categories.

DO: Keep it green. The hoardes that descend on Punchestown can leave a fairly indelible mark on the place in many ways, so try and do your best to use the recycling bins that litter the site. See what I did there?

DON'T: Bring a pair of wellies. I know, I know, as a safeguarder of public trust, we should be instructing you all to arm yourselves with functional footwear. The thing is though, you can swop your mud-encrusted shoes for a free pair of wellies at the Schuh Welly Exchange on site. Your dirty specimens will then be cleaned up and shipped to the third world to provide shoes for those who otherwise couldn't afford them. So forget the wellies and bring a pair of shoes you don't mind donating instead.

DO: Choose one member of your festival-going party to be the designated parent of the group. If necessary, pay this person a small gratuity to make up for the added responsibility such a role demands. You'll be thanking us when your temporary mummy or daddy fishes you out of puddle of questionable origin or prevents you gambling away your actual parents' car in a late-night game of camp site backgammon with those hustlers in the neighbouring tent.

DON'T: Get baked in the sun. The smell of 80,000 "revellers" being singed simultaneously could lead to a catastrophic scene like this...

In the first of four daily blogs this week as we build up to Oxegen kicking off on Friday afternoon, Rigsy, who's been to every and since they began in 2000, picks ten of his favourite performances from the last nine years...

New Bands tent, Sunday, 2001
This was actually a wee bit rubbish, but I didn't mind. Their album, the finest thing I'd heard during the previous 12 months, was a lovely mess, an unpolished clattering of samples and seemingly random noises. Made sense the live show would be the same, just louder. It was.

Main stage, Sunday, 2002
First thing on the Sunday morning (after a particularly heavy Saturday night, as I recall) - everyone is crawling out of their sleeping bags and rubbing their eyes, desperately trying to shake off the previous evening's excess. Then a load of guys and girls run on the stage in white gowns singing about the sun and generally bombarding us with spikey happiness. Few of us had a clue who they were, some of us thought it was all in our imagination.

Dance arena, Saturday, 2003
I've seen the Chemical Brothers four times at Witnness/Oxegen and it's always been incredible, but this one stands out as I was just so grateful to have made it into a ludicrously rammed hanger at the corner of the festival site. When they dropped 'Star Guitar' I hugged everyone in the world.

Main stage, Sunday, 2003
One of the best hours of my life. Dressed as a giant orange fish (that's what I'm saying it was, no one was able to explain what animal it was supposed to be) alongside Neil Hannon and Colin Murray, in front of 30,000 people, with one of your favourite bands of all time. That'll do it. Witnness 2003 has yet to be bettered.

Second stage, Saturday, 2004
When they came out, my, erm... hero Pharrell Williams wasn't with them. I thought, fair enough, what would the single coolest man on the planet be doing mincing about a field in Co. Kildare? When he eventually did come out, looking awesome in a Billionaire Boys Club hoodie, I screamed like a Bay City Rollers groupie in 1976. When they played 'Lapdance' I bounced so high I thought I might touch the moon.

Main stage, Saturday, 2005
There was an old guy in the corner dressed in purple, covered in diamonds and supporting himself with a massive gold cane, doing nothing but just... bein' a pimp. And Snoop had one leg of his trousers rolled up. If they'd not played a single note or muttered a word this still would have been awesome.

Main stage, Saturday, 2006
Like it's done for about a third of the time this festival has been running in the last few years, it was raining for the duration of this performance. Proper belting it down. I was on my own, getting soaked to the skin - I might as well have gone swimming fully clothed, I was that wet. I interviewed them afterwards and they seemed generally concerned about the fact I was visibly shaking and clearly coming down with something. But it was still worth it.

2^nd stage, Sunday, 2007
A big shiny pyramid, all lit up and some of the biggest dance songs of the last ten years. Classness.

New Bands stage, Sunday, 2008
Just to represent all the Nordies who have successfully invaded the festival and taken over, for a short time at least. It was rammed when General Fiasco played the new bands tent last year and I think they were on second last. In a couple of years time, everyone will claim they saw this show.

Main stage, Sunday, 2008
Simply because it was possibly the most hyped up and anticipated set we've seen on this island... ever. It was incredible, of course. But I'll probably remember, more than anything, standing beside Radio One's Rory McConnell for half an hour before they came onstage. A grumpy sort at the best of times, Rory isn't a fan of festivals. Yet he was twitching a bit, something obviously on his mind. Out of the blue he turned round to me and said, with all the enthusiasm in the world - "I'm so happy". Sums it up, really.

Tell us your favourite Oxegen moment, and check out if you so desire...