Sunday night fever

Ash
Ash burst on to the stage with vigour and make up for their late start with an impressive, literally flaming, guitar to open.

The band try a different tack to their recent Temple Bar Music Centre gig and played plenty of old favourites, getting the crowd going with 'Oh Yeah'. 'Girl from Mars' and 'Kung Fu' followed, as did 'Shining Light'. 'Orpheus' and 'Clones' from the new album, Meltdown, makes an appearance, but the set is mostly about the hits.

Oxegen Sunday coincides with the drummer's birthday, and so a brief reprieve is taken for the whole of Punchestown to sing Happy Birthday to him.

And the crowd must think that all their Christmases had come at once when Ash is joined for the last two songs by Brian Robertson of Thin Lizzy, completely attired in black with obligatory sunglasses, and lashing into 'The Boys are Back in Town'. They finish with 'Burn Baby Burn' to a frenzied crowd, leaving the hoards in no doubt that they're happy to be back home.

Muse
Mexican waves kept the fans busy while they wait for Muse to appear. Since Bowie didn't make it and The Darkness were bumped up the running order, Muse has the good fortune to be taken off the Ticket Stage and onto the Main Stage. The result left no one in any doubt that this should have been the venue for them in the first place.

Running way behind thanks to bad weather, when the band does come on they ensure that all present are treated to a storming set, which demanding plenty of simple, goddamn honest jumping up and down.

Matthew Bellamy soon had the crowd whipped into a fever with 'New Born' - all soaring vocals and screaming guitars. Three different stunning silver guitars are used throughout the set by the lead singer, who cuts quite a figure strutting about in a military jacket.

His almost contralto voice effortlessly travels up and down the realms of Origin of Symmetry, and as bubbles float past the stage - blowing away the spectre of earlier pop and dance visitors to the Main Stage - Muse give the rock lovers something to remember.

The Libertines
The Libertines' lead singer growls his way through their set on the Sunday night Ticket Stage, taking breaks only to swig from a nearby bottle of Buckfast.
The four-piece get the crowd bopping and throwing some crazy headhsaking to their light, melodic rock, with the three shaggy frontmen especially putting on a show.

There is little or no audience banter for the hour that they're on, but they deliver what's required with word and note perfect. Though the music is enjoyable and they don't put a foot wrong, there's a nagging feeling that the band were not enjoying themselves so much, resulting in a pleasing but slightly emotionally empty gig - not one of the highlights of a weekend filled with deliriously delighted acts.

They abruptly leave the stage at 9.05 on the dot - without warning of conclusion and disappointing the eager crowd. It's not always good to leave them wanting more; sometimes they're just plain unsatisfied.

The Delays
The Delays are on second last in the New Band venue, which strains under the sheer volume of people during their set. Many are rain evaders but there are plenty of core supporters in the top half of the tent.

Despite their name they take no time in getting down to some intense music. The bescarved and stripy-jumpered boys pump out their guitarsy, eretherally-backed sound - chilled enough for the majority of people sitting down but building to a lively end for those up front.

The band members are very sure of themselves and, as a unit, are very together, playing a strong and impressive set that leaves the crowd hoping for more of the same next year - in a bigger venue.

The guys finished on a heavy and heady high, singing, "It's been a long time coming…" Hopefully they won't be waiting too much longer to get the recognition they deserve.

Ocean Colour Scene
This Ocean Colour Scene review could have been somewhat hindered by the reviewer's inability to actually get into the Green Room to see Ocean Colour Scene.

How-and-ever, the not-so-wonderful view over the security guard's shoulder is just about bearable with the band's cracking opening with the 'Riverboat Song'. Those who couldn't get in danced on the grass outside and those lucky enough to get in lifted the roof off singing along.

Soon enough they manage to stuff more people in the sides of the tent and there we all are, every one of us a super 'Scene fan (or so it seemed). With Muse finished and The Darkness yet to appear, the only major pull on that side of the festival ground was standing on the stage in the Green Room, wearing a white shirt and banging his tambourine.

Beach balls bounced around and the crowd goes crazy with every song – sheer adoration from the legions present. Whistles, shouts and cheers ring out constantly while the band did what they do best. Every Ocean Colour Scene song, it now appears, is an old favourite.

Basement Jaxx
Basement Jaxx finish the festival on an incredible high. Bumped up from the Dance Arena to the secondary stage, the collective of strange and wonderful artists show off their crazy hats, scary masks and stunning sounds to an appreciative crowd.

But they aren't the only ones up there. In a brave stunt during 'Plug it In' one courageous but stupid young man climbs to the top of the sound scaffolding and gives the crowd a focal point for following slow tunes. A quick moon at the stage and a frightening scuffle at the edge of the construction (with two very pissed-off security men) later, and he is out on his ear.

But perhaps he was still close enough to the grounds to hear the madness that was 'Where's Your Head At?'. Even the Portaloos are bouncing up and down as every member of the audience within view goes absolutely ballistic.

The band leaves the stage early but soon reappears to finish off the set in style, nearly losing a singer to the hungry hoards. A wonderful way to dance yourself into exhaustion, Basement Jaxx send people home happy and hopeful for another visit to Ireland soon.