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Ok, so first off I must iterate the fact that this particular run down is in no particular order, nor is it a definitive list of the best British record labels of all time (as if such a breakdown could ever be truly quantified). It is simply a list of some personal favourites within the British...MORE>>

The first thing that strikes you upon entering Cheltenham racecourse during the last weekend of May is that the Wychwood organisers have an uncanny, unyielding, somewhat supernatural ability to predict Britain’s oft-erratic climate. Such, blessed with unprecedented heat & unflinching sunshine, Wychwood festival celebrated its fifth birthday with a heady mix of music, magic & general merry-making.

Taking to main stage come Saturday morning, with enough raucous instrumentation to shatter even the heaviest post-opening night hangover were Oxford sextet Witches. With an infectious menagerie of muted, mariachi-style trumpet, Witches’ eclecticism set the tone for the day ahead.

The early afternoon schedule threw up something of a curve-ball. Despite a huge amount of media attention as of late thanks to a celebrated appearance on Hell’s Kitchen, Adrian Edmondson & his Bad Shepherds appeared at 1.15pm in front of marauding middle aged crowd, indulging in energetic renditions of classic punk songs, set climaxing with a, (possibly tongue-in-cheek), execution of Teenage Kicks, the irony seemingly not lost upon a single member of the audience.

With the fevered crowd quickly dispersing back into the immaculate May sunshine, the handful left were rewarded with a set bordering perfection thanks to Alt. pop upstarts Goldheart Assembly, a band whose zealousness captured the imagination of all at the Big Top stage.

Back in the open air all eyes were upon the main stage. Pre-empting the highly anticipated sets of Radio One favourite, Little Boots & Two-Tone legends The Beat, Kissmet unleashed their Bhangra-Rock maelstrom. Buzz Singh’s beatific dohl rhythms captivating the audience into a Bolywood style dance troupe, en-masse.

Eagerly awaited by both the media & audience alike, Little Boots, whilst presenting her own flavour of largely inoffensive electro pop failed to whip the crowd into the frenzy of excitement which might have been expected. A case of style over substance seems to have presented itself, and once again Radio One have over-promised and under-delivered.

Sunday pandered to the World music aficionados, with Bellowhead’s cacophonous Folk & the Ethiopian Jazz tendencies of Dub Colossus being the obvious highlights for those with a penchant for the World scene.

Not all acts were of the World variety though, with highly praised Indie axe-slingers Red Light Company taking the penultimate slot on the Big Top stage. The band were rather underwhelming, with the feeling taking place at the front of the mind that this has been done before, with a great deal more passion & enthusiasm.

Wychwood may reluctantly be edging into the public domain with this year’s Friday & Saturday catering to something of a mainstream clientele, their respective headliners Super Furry Animals & Supergrass proving obvious draws. However, the allure of a festival such as Wychwood, its size & atmosphere never become too much for the intoxicated psyche to deal with. The ability to walk the entirety of the arena in a matter of minutes means any act you wish to see is within walking distance of each other. The viewing of a particular act is totally at the behest of the viewer themselves as opposed to geographical/timing constraints, which may present themselves at larger festivals.

The toilets weren’t too bad either!