Kanye West's show is delayed by 45 minutes after the rain caused technical problems with some of his equipment, so the anticipation is high by the time he finally starts. He makes his initial appearance in a cherry picker high above the crowd, and later there's an extravagant lightshow, a huge backdrop featuring an image of baroque angel sculpture surrounded by multicoloured twinkling lights, a dozen dancers in bizarre theatrical costumes - all in all, it's as absurd, overblown and entertaining as West's ego. As an entertainer, he clearly owns the stage, nailing all of his biggest hits - Gold Digger, Jesus Walks, Monster, Power, Can't Tell Me Nothing - especially in the first half of the show. The quieter moments, though, fall flat - slower selections from 808s and Heartbreaks like Say You Will and Heartless seem better suited to a more intimate indoor setting, not a massive outdoor festival. There's also a questionably extended version of Runaway that drags on for a good ten minutes, far overstaying its welcome. Thanks to the late start, many people have to leave well before it's over so as not to miss their buses. However, with the show lasting a full two hours, there are enough high points that most Kanye fans should go home very satisfied.

I stop in the Boiler Room hoping to see Brisbane DJ Tigermoth, but most of the very loud, very young people packed tightly into the tent are only here for the next act, OFWGKTA - that's LA hip-hop collective Odd Future Wolf Gang Kill Them All, for the uninitiated. Although Tigermoth is playing some interesting beats, it's difficult to pay attention as the impatient audience strikes up a chant of "Wolf Gang, Wolf Gang". With this kind of enthusiasm, I wonder why Odd Future didn't get a main stage spot. When they take the stage, though, it's a bit of a letdown as the sound quality is unfortunately terrible. The beats are muddy and indistinct, while the vocals are too loud and so distorted it's nearly impossible to make out the words. Also, I've realised that while OFWGKTA can be fascinating to listen to on your own, it's a bit uncomfortable to find yourself surrounded by high-school aged fans who sing along with their violent, misogynist lyrics a bit too earnestly.

Das Racist are one of the highlights of my day. Some may dismiss them as novelty rap, but it's hard not to be won over by their combination of boundless energy and deadpan humour. Between songs they address the audience in a hilariously patronizing manner - "Hello! We are professional rappers from America" and "we're going to play you some more American rap music" - all with a completely straight face. "On a scale of one to ten, how professional are we as rappers?" they ask later, and the audience yells "Ten!" "The correct answer was six," they respond.

Grace Nye

There’s always concerns when an immensely popular group reforms after an extended absence; the threat that an obvious lack of passion from the band can kill the good memories associated with their music chief amongst them. Fortunately Soundgarden follow in the grungy footsteps of Alice In Chains a couple of years ago and deliver a surprisingly exciting show. Classics like Spoonman and Jesus Christ Pose still hold up and the band does them justice, with skilled playing and an obvious delight in performing again. Slightly odd stage banter aside, it’s a great set and the mix at the main stage finally feels spot on, after some issues earlier in the day.

As Royksopp take the stage and the first notes of Alpha Male ring out, any remaining hint of aggression left by OFGWKTA in the Boiler Room melts away, making room instead for euphoria. It’s the first time the band has made it to Australia and today they put on a show that makes up for the delay. Beautiful renditions of their biggest hits, particularly a stripped back version of What Else Is There, which sees their touring vocalist match Karin Dreijer’s unusual inflections perfectly, makes this one of the day’s highlights.

Sky Kirkham

Frenzal Rhomb are the definitive Aussie festival band: they usually go on a bit earlier than they should have to, play all the songs that get people singing, and get people pumped for the rest of their day. As with all the times I’ve seen them, this was the case at BDO 2012. There’s really nothing I can write here that hasn’t been said a thousand times - they were tight, fast, and at times downright hilarious. They may sing songs about getting high and being attacked by birds, but when the majority of a large festival crowd is singing along to every word it all sounds, dare I say, profound. Jay’s voice, even with how he’s abusing it these days with his screams, stayed golden though the set and when the band left the stage there was a huge applause. Also, to the guy that went out of his way to actually make an ice cream helmet, I say bravo. That would have come in handy for repelling sun and rain throughout the day - you should bring a bunch and sell them next year.

Best Coast played on the tented Green Stage, but could very well have set up on a sunny California beach in front of surfers and people playing volleyball. They hold the honour of being the first band announced for the festival and attracted quite a large crowd early on - I got the feeling that a lot of people had been waiting impatiently to see this band play. Singer/guitarist Bethany Cosentino sung, strummed and shimmied at center stage while her band swapped instruments and absolutely bathed the crowd in reverb - and if there’s one thing that emphasises songs about pining and loneliness, it’s reverb. With only one album and a few singles to draw material from there were no real surprises when it came to what got played, but every song got a warm reception and the band was very appreciative - that said, the sound of the opening chords of Girlfriend drove the crowd nuts, as expected. According to Cosentino, the next time Best Coast plays on our shores it will be on a tour supporting their upcoming sophomore album, which is excellent news.

Battles were, for me, the highlight of the day. This was the first time the band had come to Australia as a three-piece after the departure of singer/multi-instrumentalist Tyondai Braxton, and with all the gear they packed on that stage it would have been a squeeze fitting him up there anyway. What amazed me the most is that none of the band members used in-ear monitoring systems to stay in time, which is amazing when you consider just how robotic this band’s sound is. They’re all such veterans that all they need is a small cue at the beginning of a song and everyone stays on point throughout. Drummer John Stanier was a sight to behold - sweating through his long-sleeved shirt in record time and throwing his right arm up to meet the highly-perched crash cymbal, while Ian Wiliams and Dave Konopka looped, tweaked, and otherwise modulated their instruments into rhythmic attacks. No guest vocalists, sadly, but it’s amazing what a band can do with some video screens if they want to get creative, and for an amazing band like Battles there really is no other option. This is one of those “you have to see them if you get the chance” bands, so the opportunity comes, I say take it.

Rob Schlegel

Blue Juice, even more animated than their outfits one never knows quite what to expect from this energetic band, sound was great and energy was up with the lead singer constantly egging on the crowd to take off their clothes or sleeping with seniors, amongst the confessions of STI's and videos of action with older ladies Alex from Sparkadia was even called to the stage just to be 'introduced' to the ladies. Always full of energy and charisma the Blue juice set was well worth jumping around to even in the heat of the middle of the day.

The only thing confusing about Foster the People was that it wasn't on the main stage when it was the highlight for many festival goers. The tent was beyond capacity and it wasn't because of the rain pouring down outside. The band had a flawless sound and were complimentary to the audience stating that 'Australia has supported them since before they made it' and 'this might be the best looking audience...ever. The crowd was rewarded with a very extended version of Pumped up Kicks where the song branched out in genres and even had a hint of dub step in the song. The band put on a great show and even in a tent where moving was hard not moving to the catchy songs was near impossible.

Architecture in Helsinki, synchronized line dancing was just the opening of this quirky bands set. The music was amazing and the crowd ate it up. The flaw of the set was the location being a tent where visibility of the band was difficult to get. However for those who pushed through to the front they got to experience so adorable routines. The band although not huge on talking between songs had clearly put in a big effort in making up their dance moves and loved what they were doing, the crowd loved it too especially during Contact High.

Laura McMahon

Technical issues meant an uncharacteristically slow start for The Jezebels' set at the BDO, but once they hit their third track, the anthemic Mace Spray, the band was back to it's true form. The band really showed why they're known for their live performances, with lead singer Haley Mary working hard to fill the massive stage. The true standout of this gig however was drummer Nik Kaloper, whose drive and precision had thousands of trashed Gold-Coast-ians air-drumming, swept along for the ride.

I really feel for Kitty, Daisy and Lewis. Up against heavy weights of the BDO Drapht and Foster the People is difficult enough, but add torrential rain on an outdoor stage with no marquee and you're shit out of luck. For a small group of dedicated fans this only meant a private concert almost in their own back-yard. Kitty and Daisy are clearly two of the hardest working women in music, switching between drums, harmonica, keyboards and banjo, while their smoky vocals gave context to their album title Smoking in Heaven. While their album is an absolute treat - there is nothing like seeing this talented family creating their sound live. If it wasn't for the Jersey-Shore fake tan and cut-off jeans of the crowd - I would have thought myself back in the 1950s.

Before the show even started you knew Kimbra was going to be fun. Her 80's-inspired band took to the stage clad in polka dots, basketball signlets and afro-dos, before New Zealand's queen of kook joined in with a Gaga-esque rainbow tutu to sing Settle down. She flicked between RnB, soft pop, funk and folk, and for the only 30-plus person in a sea of teenagers - I was proven wrong. Not only is it possible to mosh to Kimbra, but she is an incredibly infectious live performer.

Davina Jones

Photos by Sky Kirkham