Live Review: Big Day Out

Once more, the weather gods have been kind and a gorgeous sun-swept vista greets the eager hordes of music fans hustling to get amongst the new revamped take on a summer institution; the Big Day Out. It's hot, but nowhere near as bad as our poor Sydney brethren had to cop earlier in the week, and everyone takes the conditions in their stride and dig straight into the festivities.

Melbourne hardcore five-piece House Vs Hurricane kick things off with the proverbial steel-capped boot, lead singer Dan Casey's infectious energy bang on, inciting collective jumping to 40 Deep and Get Wrecked. Guitarist and singer Ryan McLerie nails his melodic wail in Lost World and Casey gets a circle of death going for Dead Lizard. Casey pauses proceedings to sing Happy Birthday to guitarist McLerie before closing with the tight onslaught of Blood Knuckles, showing warm appreciation for a crowd that “kicks Sydney's arse.”

The lads from New Zealand folk band Avalanche City draw a commendable and enthusiastic early crowd to the Green Stage. Known for their romantic style of folk music, it's no surprise people throughout the crowd are hugging, kissing, and generally having a good time for the duration of the set. The popular Love Love Love induces squeals of excitement and joy from the crowd, particularly the ladies, followed by a charming singalong. If only every Sunday could begin with some sweet vocals, glockenspiel and lovely violin like it has here today.

Prog-rockers Me get off to a blinding start; they sound enormous on the Blue Stage, very fitting for their big riffs and soaring melodies, but these grandiose songs would sound infinitely better in front of a bigger crowd. The band play with expected proficiency, though Naked, Like A Fox and Westward Backwards stand out particularly, as does the wild vocal looping that brings Rock And Roll Dandy to life. A tip of the hat to frontman Luke Ferris' hometown of Toowoomba doesn't go astray, either.

Queensland's finest, The Medics, have drawn a sizeable early crowd, more than justifying their national spot on the bill. It's end to end gems, from Griffin and Golden Bear to Beggars and Joseph. The heat is absolutely sapping but it doesn't stop Jhindu Lawrie from getting out into the crowd, nor does it hinder Andrew Thomson from jagging around the stage, convulsing in time with his tight guitar playing. Visceral and magnificent, as always.

There are a brave few standing front and centre, manically jumping up and down to every womp and kronk of Canadian dubstep duo Adventure Club. It's the middle of the day, absurdly hot, and the air inside the Boiler Room tent tastes like sweat. That the pair can elicit such an enthusiastic reaction from the crowd is testament to the quality of their remixes, or the stupidity of the average festival-goer. One or the other.

Every Time I Die turn up the temperature on the main stage, the Buffalo quartet stomping heads with their abrasive metalcore. Defying all sense of logic by rocking black denim jackets, the guys thrash about on stage, banging heads and throwing kicks. In an American Flag t-shirt, six-string goliath Andy Williams trades riffs with Jordan Buckley, while brother Keith Buckley shreds his vocal cords and directs a circle pit that engulfs the interior of the D. No Son Of Mine, We'rewolf, Bored Stiff, Wanderlust – pick a highlight.

Brisbane's Sampology brings the party to the Boiler Room with his unique audio-visual DJ set. Kicking things off with an awesome visual of Community's Joel McHale repeatedly swallowing himself, he entertains the audience with not only great music, but also with his quirky sense of humour and flair for record scratching. Punters are graced with images of Bill Murray, Bruce Willis playing trumpet, Jimmy Fallon and his barber shop quartet performing Shaggy's It Wasn't Me, and of course, a kitty shooting laser beams out of its eyes.

While Delta Spirit sound moody, they manage to demand attention while doing so; it's something of a dichotomy that intrigues and allures. Tear It Up is an early highlight, its infectious chorus giving even casual fans a chance to sing along. There's a beauty to their songs, but they're executed with toughness; the occasional dual-drummer configuration and the gravelly voice of Matthew Vasquez helping achieve that. Empty House is the set's highlight; the vibe almost Springsteen-like throughout.

Ballarat sextet Hunting Grounds get a sweaty mosh going early with Liquid Air and Flaws. Frontman Michael Belsar just manages to climb on top of the noisy but carefree synth and guitar mix for most of it, swapping with fellow vocalist Lachlan Morrish on Star Shards. The ragtag group run through a ripping cover of Beastie Boys' Sabotage before winding up their set with the much-anticipated In Colour; it's clear they still have an aversion to playing their triple j Unearthed winner Blackout.

Florida folk-punks Against Me! launch into their set, and if they weren't playing a handful of material off the forthcoming Transgender Dysphoria Blues the news stories that followed the band in the latter half of 2012 would be without context. There are a couple of glaring gaps in the set to make way for all the new stuff – the band's decision to omit New Wave lynchpin Thrash Unreal the most evident – but White Crosses material like I Was A Teenage Anarchist fills the D-barrier with an anthemic, uplifting energy.

Gary Clark Jr can play guitar and he shows us that this afternoon. While he's a great, versatile voice, he lets the guitar do the most powerful singing during the set, his playing owing much to the British blues of the '60s and '70s. Ain't Messin' Around is punchy, When My Train Comes In is deep, dark and snarling, the Chuck Berry-inspired Travis County gets us moving, while Bright Lights is just a very good song. Possibly too diverse at this early stage of his career, but you'd imagine he's a future star.

It's only twenty past two in the afternoon, yet the amount of punters that are already flaked out in and around the Converse Essential stage is quite astounding, a testament to the amount of booze smuggled through the gates today. Jagwar Ma don't do anything to wake the party monsters from their slumber. Tropical textures, full of chirping birds and lions roaring, provide soundscapes which are pretty lush, but the vocals are lethargic and uninspired. There's nothing even resembling a stage show, either.

With his infectious, bass loaded electro styling, Morgan Page is loosening up a grateful, dance crazy audience at the Boiler Room. This is an obedient audience, raising their hands in the air every time they're commanded, making Page feel right at home. Even though it's still afternoon, it's definitely starting to feel like a nightclub in amongst it – raging good times!

Oz rock stalwarts Grinspoon know a thing or two about playing a summer festival. They've been doing it for their entire career now, and have gotten the act down to a fine art. Be drunk, have a laugh with the crowd between tracks, plug the new stuff – the band's latest single Passerby ­ – and offer up a couple of deep cuts for the real fans – a sterling rendition of Ready One. Today, it's clear that the Grinners know what they're doing, and they do it well.

A reconfigured version of local rockers We All Want To play to a small crowd of devotees at the Red Stage, Tim Steward back in familiar terrain as he leads the five-piece through Back To The Car and Trigger Fingers. They deal in soaring harmonies and deft arrangements and it sounds gorgeous, Skye Staniford taking the reins for the lovely We're Not Perfect before they seal the deal with an epic rendition of No Signs.

The BT Laptop Symphony isn't quite as extraordinary as it sounds on paper, but it does provide those wanting to dance in the afternoon with a nicely rolling set of house tunes with the occasional big bass drop, as is the fashion of the time.

The brothers Jake and Jamin Orrall bring their Nashville outfit Jeff The Brotherhood onstage to a relatively empty Green Stage tent. It's a pretty guitar-heavy mix and renders the normally summery vibe of Six Pack near non-existent but the board-shorted duo kick on with Dark Energy and Country Life, washing over the heads of a curious crowd. Their psychedelic grunge is enthusiastic and spontaneous but it's tough going lifting it over the mid-afternoon doldrums.

The stage fills with smoke as Death Grips' two members hit the stage. Frontman MC Ride stirs up the crowd as drummer Zach Hill drops what closely resembles the most primal of tribal beats and deep bass which makes the tent shake. Those up the front of the half-full tent are dedicated, pumping fists and bouncing around, while the band spit tracks like Come Up And Get Me, Lil Boy, I've Seen Footage and Guillotine with fury.

South Carolinian rockers Band Of Horses take the stage in front of a huge rural swamp backdrop to remind them of home, and then deliver a scintillating set of authentic southern rock to a huge and besotted crowd, who belt back the words to tracks like the epic Is There A Ghost and the cruisy Laredo with complete gusto. Frontman Ben Bridwell is completely charming, recent single Knock Knock garnering a fine response before they finish with a powerful and evocative run through of The Funeral.

The one man band that is Bob Log III bursts onto The Lilypad stage, adorned in an outrageous, glittery onesie and his trademark helmet; making just as much impact with his fashion as with his supreme guitar skills. He wastes no time in whipping the crowd into a shindiggin' frenzy, with his distorted vocals and slurring tempos. Highlight is his cult song from a couple of years back, Boob Scotch, with all the crowd singing and dancing along.

Off! provide one of the most visceral sets of the day, hardcore legend Keith Morris hitting the stage like a dervish and whipping through tunes like I Don't Belong and I Got News For You while his super-tight band pummel all and sundry behind him. He delivers a moving eulogy to his lost friend before belting into Jeffrey Lee Pierce, before things turn briefly ugly with a fist-fight erupting in the circle pit during the aptly-named Fuck People, but nothing can derail this incendiary and powerful performance.

It's a regular Hamptons' house party with the gentlemen of Vampire Weekend getting the field dancing to their angular indie Afrobeat amalgamation. Although there's nothing thick about their music, the band sounds rich and full. Frontman Ezra Koenig is in high spirits, his presence playful and engaging. The band deliver a good mix from their two records: Cousins, Mansard Roof, (One) Blake's Got A New Face, Holiday, before closing with the now standard Walcott, the piano ringing out to a mass of applause and smiling faces.

Donald Glover, aka Childish Gambino, brings the perfect amount of ego to his performance at the Essential Stage; loads of it! The crowd is lapping it up, especially when Gambino claims to be the “illest rapper you could ever see” in his freestyle toward the end of the set, which, at least for today, has to be pretty close to true. Included in the set is a cover of Adele's We Could Have Had It All – Mr Glover is a force to be reckoned with.

Having kicked around the 'biz for much of the previous decade, Brisbane indie trio I Heart Hiroshima are live circuit stalwarts. It's troubling then that their Red Stage set lacks spark, singer Matthew Somers doing his best on Love Like London, sharing vocals duties with drummer Susie Patten who ploughs through tracks like Got Out. We're informed it's been two years since they last played together and sadly it shows; not even wry banter can save them as even that grates soon after.

Alabama Shakes are nothing short of a complete revelation, frontwoman Brittany Howard absolutely captivating as they blast off with the mesmerising Hang Loose and the irrepressible Hold On. The band are phenomenal but you can't take your eyes from Howard, soul dripping from her pores and her massive voice filling the Green Stage and beyond as she belts out I Found You and Be Mine, then channelling the conviction and purpose of a preacher delivering a sermon as they finish with the gospel-tinged You Ain't Alone. Stunning.

Considering their high billing, New York's Yeah Yeah Yeahs are uncharacteristically uninspired. Brian Chase is all smiles with his jazz hands manning percussion and Karen O, in her bright red tights and running makeup, is forever strutting and striking poses. But the setlist is a confusing mix of their more arty numbers with a couple of favourites such as Zero and Gold Lion thrown in, while a complete lack of visuals and imagery means that there's no additional colour to enhance the overall experience. Memories of their incredible Sunset Sounds set a few years back only compound today's disappointment.

Brisbane melodic metallers Dead Letter Circus are a well-oiled machine, frontman Kim Benzie impressing immediately with his unique high-wire vocal, the lads unstoppable as they whip through crowd favourites Big, Lines and Reaction. Last year's release Wake Up sees bassist Stewart Hill all but flex himself inside out as bodies get crowd surfing, including Benzie himself as he leaps from a speaker stack during closer Next In Line. Criminally underrated as a live must-see.

There's a flashy advertisement playing on the Essential Stage that turns out to be American rapper B.o.B working through his egregious product placement anthem Ray Bands. And with a backing track handling most of the heavy lifting, there's not a lot going on during B.o.B's set. It's nice to hear Rivers Cuomo and to be transported back to last week's triumphant Weezer performance, even if it is on the backing track during Magic, but that's certainly not enough. B.o.B.'s vapid, bubblegum-y rap seems over-rehearsed and under-performed this evening.

Over in the nook where The Lilypad is housed a small but ecstatic contingent watch Hey Geronimo bring some levity to proceedings, even adding brass to their ensemble as they deliver a set of up-tempo and infectious pop goodness. A fake intro of My Sharona segues into the catchy Dreamboat Jack, but the unabashed set highlight is when a beardy bald guy in a mink jumpsuit takes the mic to rap about 'having his fucking face on his t-shirt' (which, thankfully, he does).

A mysterious technical issue forces Crystal Castles to suddenly stop halfway through the second song of their set, Baptism, at the Boiler Room, much to the crowd's frustration. However, after a few songs they're back into the groove, and all mishaps are quickly forgotten. Alice Glass is throwing herself all over the stage, even standing on the drum set and smashing the cymbals. They leave the crowd jumping by the end of the set with Doe Deer and a killer re-take of Baptism. 

Those that are smart enough to check out Foals are duly rewarded with one of the most punchy and transcending sets of the day. Yannis Philippakis is a curly ball of muscle out the front, his vocal dynamics making Miami and Spanish Sahara soar. But the most exciting moments are the Oxford band's two most recent cuts, Inhaler especially, its riff detonating through the tent. The crowd are in raptures throughout, only adding further to a total triumph of a set.

In a blaze of lights and confetti and fireworks, Las Vegas' The Killers present the Big Day Out crowd with a congruent visual accompaniment to the grandiose rock'n'roll of numbers like When You Were Young and Miss Atomic Bomb. Though they're tonight's second headliner, when they're playing All These Things I've Done and Brandon Flowers is leading the crowd through a gleeful rendition of the “I've got soul, but I'm not a soldier” refrain, they feel like a main attraction.

The Essential Stage has filled up again with keen punters crowding the barriers and spilling way beyond the tent boundaries for Melbourne's 360. Alongside his DJ and back-up MC, the lean, shaded personality de force wipes the floor with Killer, Throw It Away and Child. His rep calls for more attitude than sage but he freely proffers his warm regard for the crowd while asking them to play Gosling's part on Boys Like You. The set's 15 minutes shorter than promised but the bouncing energy of Regurgitator's Song Formerly Known As remix has everyone knackered but satisfied.

Back in the Boiler Room and Kaskade is doing his best to keep the thin face chewing crowd moving. The American doesn't command the same type of adulation here that he does back across the Pacific, but his uplifting albeit rather predictable type of EDM maintains the energy levels. Looking directly towards the front from the sound booth, the LCD screens, fitted to the back of stage and the decks, look decidedly intergalactic, offering another dimension to the set. Overall, it's harmless but pretty forgettable.

There's barely a square inch of space left on the main field as the lights dim on the Blue Stage for Red Hot Chili Peppers. New guitarist Josh Klinghoffer doesn't possess the same glam finesse of Dave Navarro nor the manic danger of John Frusciante, but his long touring role alongside the Chilis has served him well. Klinghoffer, Flea and drummer Chad Smith get a sassy jam going before main man Anthony Kiedis bounds onstage in jacket tails, whipping out a series of new-vintage favourites like Dani California, Otherside and Can't Stop. Relative newbie The Adventures Of Rain Dance Maggie takes things down a notch before things get nutty for classic Under The Bridge, Californication and By The Way. Everyone knows there's more in the bag when the guys exit, and they soon return and tear the place a new one with Suck My Kiss, I Could Have Lied and Give It Away, perfectly recapturing their former glory days as Hollywood grunge punk royalty.

Animal Collective set the perfect, alternative stage for those not interested in checking out the Chili Peppers tonight. While the boys deserve a bigger crowd than what's here, they still put on a great show, creating their trademark sounds of nature with their instruments and voices with the greatest of ease. There's a pervading air of serenity to proceedings, and they close an entraining set with a playful rendition of My Girls.

Sleigh Bells have brought a massive light show tonight and it's one of the festival highlights. They're in top form musically as well; Demons is a heavy start, but the crowd truly gets excited when guitarist Derek E. Miller hits the first notes of Crown On The Ground. Frontwoman Alexis Krauss is just great, she admits to suffering from “a bit of laryngitis” but is still a brilliant leader and vocalist. She's alone on stage for Kids and when her flanking guitarists return they take things down for End Of The Line and a very laidback intro to Born To Lose. By the time Comeback Kid is aired, the small crowd are completely under the band's control, the outfit proving they're more than a flash in the pan.

The night air puts a breeze through the packed Boiler Room tent while the stage is being set for enigmatic, and just downright confusing, Italian electro outfit The Bloody Beetroots to do whatever it is they do. Then for their hour-and-a-half set, band leader Sir Bob Cornelius Rifo, adorned in his requisite Venom mask, pumps out his brand of jagged, paranoid, electro. Even for those not standing up the front of the tent, clearly wired, it's hard not to dance to whatever madness The Bloody Beetroots are.

So there you have it – another summer rolling on, another Big Day Out done and dusted. One of the biggest and best instalments of the long-running institution to date, bring on next year!