The dance stage was next, with DJ Format and MC Abdominal making an appearance. The talented Brighton mixmaster and Canadian rapper ripped through a blinding performance of old and new tunes, anthems such as 'Ill Culinary Behaviour' and 'Vicious Battle Raps' making an appearance. I then made my way back to the main stage to catch the end of Hundred Rasons' set. This was a huge disappointment to me, HR's normally visceral live energy floating away in the wind. You can't blame them for not trying, but with performances as weak as this, they're not doing themselves any favours in striking up a new record deal.

Jurassic 5 were next up, and they failed to disappoint. Tunes such as 'Quality Control' and anthem 'Concrete Schoolyard' were all well and good, but the playoff between DJS Cut Chemist and Nu-Mark was a huge highlight for me. The intricate skill involved must have been painstaking, and they have proved Jurassic 5 are a real hip-hop power here to stay.

The (International) Noise Conspiracy were next, but failed to impress. The politics-meets-Hives garage rock may be impressive for the more indie inclined, but for Refused fans like me, it was slightly sad to see Dennis Lyxzen in his new role - less twattery, more direction, methinks. The Departure are definitely a band on the rise, their punk-funk impressing most, I for one. Pretty Girls Make Graves weren't quite as impressive, their female fronted ...Trail Of Dead-isms not quite hitting the right buttons.

The Hives put on a good show on the main stage, proving that unfortunately they'll be around longer than the garage rock fad. A predictable set including 'Walk, Idiot, Walk', 'Hate To Say I Told You So' and 'Main Offender' pleased the fans, but it's not going to convert me. Soulwax were far better, fortunately. Their epic electronic soundscapes indicates a possibly more proggy future, and combined with funky new tunes such as current single 'Any Minute Now' and older highlights such as 'Conversation Intercom' and 'Too Many DJs' (the song band members Stephen and David DeWaele named their mashup project, 2manyDJs, after).

The Super Furry Animals were also highly entertaining, playing a lexicon of old and new hits. 'Rings Around The World', 'Juxtaposed With U' were included along side newer 'Golden Retriever' and 'Hello Sunshine'. Seeing the GLC join them was an added bonus, as was sighting Radiohead's bald drummer Phil Selway hovering around outside the tent. The 12 minute 'Man Don't Give A Fuck', a paean to Welsh hash dealing legend Howard Marks was also brilliant.

My last band of the day, Kasabian, over on the Carling stage, ensured that their brand of XTRMNTR-era Primal Scream meets baggy sound is around for a bit longer. Singer Tom was giving a bit of Gallagher attitude, but this didn't mar an excellent set, ripping through album tracks and finishing with Top 20 single 'L.S.F (Lost Souls Forever)' and anthem 'Club Foot'. One down, another two to go.

Saturday
The morning band this time around were Japanese female trio THE 5,6,7,8s. Proving they're not one hit wonders...alright, they are. "Woo Hoo" was played, I skanked. Bloc Party on the Radio 1 stage had a massive lack of confidence, proving the dangers of booking a relatively new band to the Reading Weekend so early in their careers. 'Banquet' and 'Little Thoughts' were played, but nowhere near as well as on record.

Post-hardcore superstars Thursday ripped through a brilliant set. Tunes from latest album 'War All The Time' like 'Signals Over The Air' and set closer 'Division St.' were played to a rabid fanbase, as was Sick Of It All cover 'New Year's Party', where singer Geoff Rickly was joined by SOIA vocalist Lou Koller. Over on the Concrete Jungle stage, Avenged Sevenfold played a short but sweet set, including single 'Unholy Confessions' and 'Eternal Rest' from album 'Waking The Fallen'. I was slightly disappointed at the non-appearance of 'I Won't See You Tonight', but very pleased in getting several dark-as-fuck types to join in with my GLC chants during a certain part of 'Unholy Confessions'.

Coheed And Cambria were next up, their emo-meets-geekery-meets-prog failing to impress much. Their tunes were good enough, just not engaging. The Muse fan next to me was mightily impressed, though. Franz Ferdinand put on a good show at the main stage, proving their art-indie will be around for longer, which I'm not impartial to.

The day, however, belonged to Dillinger Escape Plan. A band I've been a fan of for a long time before ever seeing them live, they failed to disappoint in anyway. Vocalist Greg Puciato leaping around like a man possessed, and guitarists Brian Benoit and Ben Weinman providing the off-kilter melodies. Nothing in a Dillinger show is predictable. The songs are almost too easy to fuck up, which they almost do on purpose just to show how they can rescue it and it still sounds damn good. Songs from latest record 'Miss Machine' such as 'Panasonic Youth', 'Baby's First Coffin' and Nine Inch Nails steal 'Phone Home' fit nicely alongside 'Calculating Infinity' songs like 'The Running Board' and '43% Burnt', Greg taking up the reins from ex-vocalist Dmitri expertly.

Still recovering from the insane moshfest, I went over to be pleasantly surprised by Morrisey. Beginning with a brilliant version of Smiths classic "How Soon Is Now?", still losing none of its politcal bite despite being written in the Thatcher years, he went through solo classics like "November Spawned A Monster" and "Don't Make Fun Of Daddy's Voice" and songs from new album, "You Are The Quarry". The between-song talk was a bit naff, but we'll give him a break. Smiths songs "Shoplifters Of The World Unite" and "There Is A Light That Never Goes Out" were also played. The only touch missing was a bouquet of flowers to swing.

Headliners of the Radio 1 tent, Funeral For A Friend, were up next, playing an impressive set encompassing their short career and including songs from first EP, "Four Ways To Scream Your Name". Emo kids were letting their inhibitions go in the pit, and inflatable sheep displayed liberally. Their back catalogue of several singles was ripped through, and new material for the followup to "Casually Dressed..." impressed fans. Just the last day left, then.

Sunday
First band of the day were Icelandic metal-types Minus (pronounced "Mee-nus"), who were fairly impressive. By this point though, I was far too tired to take much music in. Thrice were next, bringing their brand of slightly politicised post-hardcore to the plate. Recording has started on the follow up to 2002's Artist In The Ambulance, and I can hope te new stuff is packed with this much substance and guile.

Winners of 2004's Best British Newcomers at the K*****g! Awards Yourcodenameis:milo were packed into the Carling Tent, but I have a feeling this will transpose onto a larger stage sooner rather than later. Songs from their 'All Roads To Fault' EP like the eponymous track were played with great reception from their increasing fanbase, and tracks like 'Schteeve' from their upcoming LP, apparently out in February 2004. I caught the very end of The Rasmus' bottling, meaning that all sets were put forward but at least half an hour on an already shortened bill. Loose Cannons impressed my highly over on the Dance Stage, another extravaganza of glitter, glamour and beats.

Dogs Die In Hot Cars were alright for the short while I saw them, but a huge surprise were The Streets. Prior to Reading, I thought that Mike Skinner's brilliance on record could never be brought to a live setting with the same humour and intelligence, but I was proved very wrong. A great set brought together highlights from first album 'Original Pirate Material' and latest record 'A Grand Don't Come For Free', including, of course, the weepy, lighters in the air recent number 1, 'Dry Your Eyes'.

My advanced position meant no quick exit, which wasn't necessarily a bad thing since I would like to have a look at the progress Lostprophets have made since I last saw them, a tiny band thriving off support dates and a dedicated fanbase. Unfortunately, fame has turned them into complete wankers. Especially Ian Watkins. He has completely abandoned his Pontypridd natural voice for a more "rawk" American one, and can be seen adjusting his perfect hair every 5 seconds. Comments such as "Pretend I'm Moses" forming the Wall Of Death don't help his cause either. The set is wank aswell, predictably taking all the shite new songs from 'Start Something' and only putting in the singles from far better first album, 'Thefakesoundofprogress'. Presumably, they'd like to erase that incident from their minds, as it actually contained some decent melodies, some youthful energy and some kickass tunes. Actual musical ability isn't required when taking on the worldwide success of corporate rock bedfellows Linkin Park. Wait, but don't they have a cent of credibility for mixing rap and metal successfully? I guess that leaves Lostprophets the lead contenders on every 14 year old's Christmas list, and for ownership on every coffee table, right next to Dido. Good luck to them.

I just hope a similar fate doesn't befall Amplifier. Nominated for the Best British category Ycni:m won, their prog stylings closely leaning towards Tool are both intelligent, highly listenable, and definitely not for your average Lostprophets fan. Songs from debut album 'Amplifier', called a "Nickelback wannabe" by our erstwhile editor Craig Sharp (You cock, Ollie- Craig Sharp) are played, alongside new tracks for an as yet untitled mini-album, out next year.

Back on the main stage, 50 Cent played a, erm, "set" to a less than receptive Reading audience hungry for Green Day. As a fan of hip-hop, I would normally defend the artist in question. But the undeniable truth is, Fiddy has no talent. He had a one-off hit. His style is generic, his raps weak, his pecs fake. And this is why I laughed myself silly.

I sucked up all my self pride, put away my brain for a while and watched the pop-punk of Green Day. To my surprise, I had a lot of fun. Skanking and moshing took place in a teen dominated atmosphere, as the band ripped through their greatest hits, including great covers of seminal punk bands such as The Clash, The Buzzcocks, Operation Ivy and, erm, Queen. With a requisite black tape Freddy Mercury moustache. An encore was demanded and got, with cheesy acoustic ballad 'Time Of Your Life'. This band are probably going to go Blink on us and grow up someday, but hopefully not too soon.

I was in time to catch the end of Patton and Rahzel, who, despite being brilliant in the part I saw, would probably not have provided the necessary Sunday night finale entertainment. A cover of Barbie Girl was well recieved, and I expected a rendition of Epic. Which never came. But I do look forward to the duo's album, apparently coming soon.

So, that was Reading. The highs, the lows, and the downright bizarre. And that's just the people. The music also leaned that way, with a few regrettable disappointments, but some definite high points, and some bands I look forward to seeing more of.

And will I be back next year? You fucking knows it, clart.

Ollie Connors.