Barcelona shimmers in a haze of 80s indie icons on the opening day of Primavera

The sun's out, we are in Barcelona and the shimmering pop of Wild Nothing kicks off Day One's action on the Heineken stage.

A humongous crowd is on hand to hear Jack Tatum's project start on rather subdued form perhaps getting a bit lost in the main stage setting.

They wisely focus upon their first two LPs and find their rhythm a few tracks in with crowd pleasers 'Counting Days' and 'Summer Holiday' enough to do the business in a decent if unspectacular main stage opener.

Savages have been one of the year's most critically acclaimed breakthrough acts and much of that is down to Pitchfork's glowing coverage so it makes sense to find them on their stage at Primavera.

Their 'Silence Yourself' album had definitely piqued my interest but the music is even more fully realised in a live setting.

There overly serious demeanor could be cause for ridicule in some quarters but when you see them live you realise this dark ferocious energy is genuine and these girls are the real deal.

Front woman Jehnny Beth stalks the stage pulling you ever closer with each note and body movement. They are a well-oiled unit and rifle through an action packed set with 'She Will' a particular highlight for its sheer sonic marvel.

Some band reunions have been ill conceived while others have been so good they've enriched their legacy. The latter describes Dinosaur Jr.

Many, including myself, groaned when they announced they would release a new LP along with some new tour dates.

Eight years on and they have three more albums which stand proudly amongst their other work, not to mention over this period I've had the chance to catch them live on various occasions and they are yet to disappoint.

With another J Mascis lead guitar master class they play a set littered with classics like 'Feel the Pain', 'Freak Scene' and their glorious re-imagining of The Cure's 'Just Like Heaven.'

So it's a natural follow on that I seek out another '80s indie rock icon in the form of Sugar/Husker Du legend Bob Mould at the ATP stage and he doesn't disappoint.

A set cut into three parts which looks back at his illustrious career to this point. He's playing no games tonight and blazes straight into the first five tracks from the classic Sugar album 'Copper Blue' before announcing that the next section of the set will be from his latest album 'The Descent'.

The final part is made up of Husker Du numbers and the crowd are in their element. I've always been more of a 'Sugar' man so retreat and witness the remaining carnage from the relevant safety of the back.

There is still time to catch The Postal Service at the Heineken stage and I'm delighted to find a beefed up version of 'Clark Gable'. I champion their 'Give Up' album more than anyone but doubted it's transition onto a live setting and my fears are allayed straight away.

They follow it up with a cover of 'Our Secret' from label mates Beat Happening and you realise this isn't a reunion for cash, these guys are properly invested. Ben Gibbard is as animated as you are ever likely to see him, dancing like a man possessed and smashing cymbals as and when required.

Ably assisted by the other two members of this collective – Jenny Lewis and Jimmy Tamborello – even new material such as 'A Tattered Line of String' go down a storm here and the band are clearly taken a back with Gibbard announcing that they played one of their best sets ever at Razzmatazz in Barcelona back in 2003 and ten years later they've gone and done it again.

Finishing on a double high with 'Such Great Heights' and 'Brand New Colony' both perfectly suited for that idealistic festival moment where you look for your nearest and dearest.

That's got me in the electronic mood and there is no better way to keep that going than by visiting the Boiler Room. Started as an electronic showcase for underground artists in 2010 its pirate radio ethos has seen it rise to global prominence with the Boiler Room taking place in different locations throughout the globe weekly while being streamed lived to thousands across the world.

Its first visit to Primavera sees a set from the elusive Actress. He spins a set which ranges from Hip Hop and RNB to full pelt techno and acid. It's testament to his craft that he blends elements from each perfectly to create a set with both genuine edge and dance ability.

Death Grips are billed in some quarters as an experimental hip hop act but that wouldn't come close to covering what I experienced as they took to the ATP stage just after 1am.

Front man Stefan Burnett looks and plays the part of the most intimidating character I've ever seen on stage. The music rages with intensity, schizoid electronica and wails of derision from Burnett surround the Barcelona air.

No one is sure what is going on, but they are all heavily into it. Whatever Death Grips are selling, we are buying. The music is militant and Burnett walks around owning the stage contorting out of shape and practically convulsing during 'I've Seen Footage.'

The greatest compliment I can pay to them is that there is nothing quite like them, an experience simultaneously terrifying and joyous which steals the show on the first night of Primavera.

Sometimes you see a gig so good that everything after is just a bit limp and diluted. Phoenix seem to be going through the motions on the Heineken stage while even the usually stellar Fuck Buttons headlining ATP can't match the heady heights set by those before them.

So we go into the night, on the whole, delighted with the first day action.

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