Big Day Out (Gold Coast) 2006

Each summer, as the Big Day Out festival machine rolls over Australia, the hype and anticipation builds to boiling point with tickets selling out in record time amid frenzied eBay scalping. You could be forgiven for thinking that the line up is full of international super acts deserved of such hysteria, however this year's line up offers a more homegrown 'indie' feel to it than previous years - one that makes it difficult to get really excited about.

One of the most startling shortcomings is the lack of metal bands. With previous acts including System Of A Down, Metallica, and Slipknot, it's a disappointment that the only metal act for the day is Mudvayne. Fearful of testosterone-driven pit bashings, a health and safety announcement is made before the ludicrously early time slot. Entering the elaborately decorated stage with the 'Star Wars' theme track backing, Mudvayne launch into 'Determined', the first single from latest album 'Lost and Found'. Using their trademark sound of full, twangy bass lines, hard chunky guitar and driving rhythms through the beginning of their set, they are halted prematurely during their fifth song due to power generator failure.

And with one foul swoop, this minor mishap throws out the timing of performances on the main stages for the next couple of hours. Ooops. Fortunately it doesn't stop The Subways from being their usual energetic and excitable selves, sounding something like Ash crossed with The Von Bondies. The three-piece treat the crowd to a selection of songs from their debut album including 'I Want to Hear What You Have Got to Say', 'Young for Eternity' and the sing-a-long hit 'Oh Yeah'.

Conforming to the girl riot sound of the 90's, the three piece outfit Sleater Kinney mash through their set without pomp or explanation. Choosing to play tracks from their latest release, the trio sound like they should be tearing around the stage leering over the crowd, but look like they are performing for the elderly. For such a well accomplished group, starting life back in 1992, the development of stage persona has been stunted along the way.

Back over at the main stage after an hour and twenty minutes of downtime, Australia's recent export hopefuls Wolfmother finally take to the stage. Undeterred by the power outage and a handful of disgruntled metal fiends, the natives proceed to punch out riffs almost as big as vocalist Andrew Stockdale's afro, playing their hits, 'Pyramid', 'Woman' and latest single 'Mind's Eye'. Despite the set being slightly rushed, the crowd lap up their 70's styled rock tunes and love every minute of it.

Ecstatic, cheerful and amazingly cute, The Magic Numbers are happier than vegans at a Glastonbury tofu stall. The quartet walk on stage totally glowing and proceed to play a dazzling set of catchy folk-pop. 'I See You, You See Me', 'Love Me Like You' and 'Forever Lost' stand out as set highlights, the band's rich harmonies complimenting frontman Romeo Stodart's brilliant guitar playing.

In contrast Kings Of Leon are far less entertaining, the afternoon sun perhaps blinding their vision and seemingly their ability to enjoy themselves as they drawl methodically through each track. Some of the tracks are so drab that you barely notice the change in pace as Henry Rollins takes to the stage for a spoken word performance. Outfitted casually in shorts and a T-shirt, Rollins delivers a relatively light-hearted speech. Lacking the venom of his normal diatribe, he details the many virtues of our country and our mullets, the pros and cons of certain musical acts and finishes his entertaining set with some anti-war propaganda that doesn't fall on deaf ears.

One of the most anticipated acts of the day comes from Franz Ferdinand. With such confidence and understated charisma, the Scottish art rockers have come a long way developing their stage presence and a 50,000+ crowd of male and female fans flock to the main stage to watch, dancing their way through track after track. Playing songs from both album releases, Franz start their set stating invitingly, "Yes we want to" filling the evening air with fun and also a bit of sadness that the day is almost over. Definitely one of the highlights of the day, their performance makes you forget any reservations regarding the overall lineup.

In almost complete darkness for the first four or so tracks, The Mars Volta shroud red, green and dark blue colour gels over the lights to create dark silhouettes of themselves. Speaking in a volume and audibility only beknown to singer Cedric Bixler Zavala, they launch into what can only be described as an hour and twenty minute soloing extravaganza of self indulgent Santana-esque tripe.

Iggy And The Stooges take to the main stage with unbelievable vigor. Iggy's hour long set comprises of running, jumping and mounting his equipment, almost losing his mic as he carelessly pulls the chord from the stand. Iggy wore the same pair of ladies jeans as paraded at Download 2004; tight, constrictive, yet flattering all at once. Kicking off with 'Loose', the band immediately show why they have been highly respected for decades; Mike Watt's booming bass driving classics such as '1969', 'TV Eye' and 'I Wanna Be Your Dog', while the Iggy-sanctioned stage invasion during 'No Fun' reminds us why rock'n'roll and chaos go so perfectly hand-in-hand.

In between Iggy And The Stooges and The White Stripes, New Zealand's The Lords Of Lightening put on an amazing display. Standing on top of multi-million volt drivers, two nutters wear meshed suits transmitting lightening from their hands into two metal rods. Lightening resonates from the heads and hands as they dual each other, twirling their rods and synchronizing moves to dazzle the crowd - an amazing spectacle that has to be seen to be believed!

Detroit duo The White Stripes finally headline the main stage. Playing radio hits such as 'Hotel Yorba' and 'My Doorbell' receive a rapturous response from the crowd, before Meg comes out from behind her beautiful red glittered kit briefly to play her large toms and have a little sing. Although dwarfed by the stage, the duo work their best to continue the excitement that Iggy created. However, the interaction between the pair is not enough to convince most Big Day Out-ers that they're worthy of the last time slot on the main stage.

Wide-eyed festival heads pace about humming and whirring while they await the final act in the Boiler Room tent to entertain them. 2 Many DJs take the last time slot and play on through to 11pm. Building up mashed-up tunes, they have the dancing crowd throwing their hands in the air in utter ecstacy as they drive killer beats through a pulsating set, the DJing duo taking the crowd on a musical journey that incorporates such classics as Primal Scream's 'Rocks', Mylo's 'Drop The Pressure', Aphex Twin's 'Windowlicker' and Blur's 'Song 2'. The festival ends brilliantly but you can't help leaving thinking that, compared to previous years, a few cracks have been paved over. The day just wasn't as big as it has been in the past.