Titus Andronicus top off a remarkable Day 2 at Primavera

Day Two and we start at the Heineken stage again, this time with Kurt Vile & the Violators.

Much like the day before it's a bit of a sluggish opener. It starts well with 'Walking on a Pretty Day' and 'Jesus Fever' then lags in the middle.

I think part of the problem lays in that it sounds like we've heard it before. Which we have, you could more or less stand and watch most of the set during a sound check just before they took to the stage proper and it's not conducive for a great gig.

Bob Mould, Dinosaur Jr and even The Postal Service made me a little nostalgic on Day one and it's the turn of The Breeders on Day two.

Marking the 20th anniversary and re-issue of their Last Splash album they play it in its entirety to one of the most excitable crowds of the weekend at the Primavera stage. It only takes until track two and the unmistakable bass riff of 'Cannonball' before all manner of moshing and crowd surfing ensues.

It's a pretty much perfect set with a special mention for 'Drivin' on 9' and 'Divine Hammer' capturing what makes the Breeders stand out - their ability to craft songs of pure pop rock perfection.

Sometimes Primavera is criticised for trying to be too hip or too serious. This set alone proves that such a notion is nonsense.

The most scenic stage and certainly this year's set piece was the Rayban stage. With hills of steps opposite the stage you can, if you are lucky, get a perfect enough spot to take in a band and look out over the ocean.

I'm there to catch Tinariwen, a collection of musicians from Northern Mali, who've rose to prominence in the past decade with a slew of music awards and critically acclaimed live shows.

Mixing eastern and western music they know how to put on a show, at one stage everyone including the huge toilet queue in the distance where grooving to their beat.

Daughter gathers a huge crowd at the Vice stage, they seem genuinely overwhelmed and almost like two shy teenagers between songs, bumbling through thanking the crowd and giggling like they've won a competition to play at Primavera.

The gig ultimately failed due to the close proximity to the Pitchfork stage. Even near the front you could clearly hear the crashing sound of Doldrums on the other stage.

This may not have been THAT much of an issue if it was another equally as raucous band on Vice but it clearly ruined Daughter's set especially as they rely so much on their quiet/loud dynamic. It's strange as the scheduling of bands is usually another Primavera strong suit.

While waiting for Damon Albarn and Co's headlining set a camera zooms to the green room and unexpectedly The Wedding Present appear for a very short set which they say is "as much a surprise to them as it is to you." There is very little reaction for them as most people continue to stare at the main stage. It's short, its sweet and it hits the spot.

Not long after Blur take to the Heineken stage. 'Girls and Boys' has everyone in unison from the get go, by the time 'Popscene' comes on things are getting silly on stage as well. Albarn is bouncing into the crowd while Coxon is keeled over jamming out.

'There's No Other Way' and 'Beetlebum' keep things a pace. Albarn says that "sometimes it's great doing this – tonight is one of those nights." As fun as it is, it's a bit too packed so we sneak away.

Part of the buzz of a festival is discovering new music; going in totally blind can often prove to be a festival highlight and tonight is one of those occasions thanks to Goat on the ATP stage.

Goat portray themselves as a band without identities, covered in a collection of elaborate face masks and psychedelic regalia you would think they were some sort of 1960s cult.

Apparently they live in a commune in a Swedish village where there has been a tradition of voodoo worship. It doesn't really matter if this is truth or just a way to add to the bands mystique as the music and sheer overpowering live energy does all the talking.

An incredible mix of styles formed to push a unique spectacle. If Fela Kuti, Niles Rodgers, Iron Maiden and Can ever got the chance to jam you'd imagine this would be the result.

It's a small crowd (by festival standards) but each and every one of us is in this together feeling a kinetic energy and kinship outpouring from the stage. I implore anyone, regardless of musical preference, who gets the chance to check these guys live.

There is still time to catch Titus Andronicus take to the Pitchfork stage after 3am. Front man Patrick Stickles comes on a little inebriated - but who isn't at that time of night?

He's taken umbrage to Pitchfork either due to their previous LP getting a less favourable review or the very late slot they got. Speaking in Spanish throughout the set he reiterates "Pitchfork est stupido, Titus Andonicus numero uno!!"

Launching straight into a blistering version of 'A More Perfect Union' before continuing to kick it up a notch with tracks 'Richard III' and 'No Future Part Three: Escape From The Future' which proved to be a particular beer clattered sing-a-long triumph.

The New Jersey outfit are as good a live straight up rock n roll act you are likely to see and are as good a note as any to top off a remarkable Day 2 at Primavera.

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