It's midday and I've already seen two bands. I read, thanks to Twitter (mobile reception was great throughout the festival site), that Little Dragon are doing a 'secret' show in the BBC introducing tent so I hop-foot it across from one end of the festival to the other. The tent is a new one to me, bigger and in a slightly different location than I remember it.
Afterwards there is time to pop out and get a top-up of the water bottle and some lunch (it seems that Mexican is the choice of the weekend, seemingly every other stall has burrito's) before heading back to the same tent for Annie Eve.
It is clash o'clock next, a toss-up between a band I've seen numerous times before in Warpaint and Kelis, I head outside and to the Pyramid for Kelis whom I'd never seen before, it was the right decision. I'm treated to what was arguably my highlight of the day.
Oozing with pure Motown vibes with Kelis' truly exquisite voice backed by glorious horns and harmonies. It's "Milkshake" that gets the crowd the most animated of course and there is another track I recall on hearing it live, "Millionaire" but these versions are not their pop originals, they are drenched in soul and the version of "Feeling Good" that book-ends the set is a complete knock out. The sun is out in force which also helps of course.
The allure and the atmosphere of that earlier performance seems lost on such a big stage and it ends up being somebody singing good songs well into a microphone with seemingly half interest in being there (despite Lana's repeated claim to be happy to be here). The crowd feel it too and only become involved with "Born to Die" about a half dozen songs in, they return to their slumber until "Video Games" near the end, thankfully "National Anthem" ends the show on a high point but it is an ultimate disappointment set to visuals that seem completely at odds with the ethos of the festival.
Smoke Fairies are an altogether different animal these days, their earlier days of gorgeous harmonies and intricate guitar patterns are still apparent deep down but their sound is darker and more expressive with an electronic heart to tracks taken from their recent self-titled album. The odd sound gremlin aside, this set is as polished as any all weekend, dressed it bright white entirely inappropriate for the conditions it is a rocking version of "Hotel Room" that ends the set on its highest moment. I would have easily lapped up twice the set-length.
Kicking off with "Motorcycle Emptiness" is the perfect way to vanquish any fears of listening to unknown tracks for an hour, The Holy Bible, 20 this year, forms the backbone of the set and resonates deep. Classics like "Your Love Alone Is Not Enough", "If You Tolerate This..." and the final sing-along of "A Design For Life" are amongst the highlights but the tracks from new album Futurology are received well and are full of promise.
I'm surprised we don't get to see Nina Persson who played the festival earlier in the day but perhaps it is because the band are joined by another Nina, Voss for a rather strange Kraftwerk-esque pro Euro-anthem. It's strangely enjoyable. It certainly raises a few smiles.
Looking straight at the stage you wouldn't guess, Anna plays with aplomb and it is enthralling. Her virtuoso guitar playing and powerful vocal acrobatics have been longed talked about but I wasn't expecting so much rhythm and percussion. There's a girl playing all sorts of instruments I couldn't possibly name and I am compelled to stare at what she is doing. I wish I was here sooner.
The songs are lyrically brilliant, if not of your usual subject matters, full of satire about buying houses and poor transport systems and those who arrive on the off chance will be making a note of an artist to check out once they return home.
I begin by propping up the Brothers Bar and watch as Ferry (69 but looking almost twenty years younger than) swoon his way through a brilliantly smooth blues version of "Slave to Love". The set remains suave and sophisticated throughout, "Avalon" sees Ferry on top form crooning around his beautifully polished and tight band, the drums stand-out amongst the paired backing dancers whose moves (aided by the second Brothers cider) I stark to mimic. By the time he's gone through "Virginia Plain", "More Than This" and "Love is the Drug" the audience are putty in his hands.
Afterwards, a short side-step at the bar aside it's an early night and before I know it, the end of the weekend is almost with us.