It often comes at the end of a day of amazing music that you run out of adjectives to use to describe performances that keep increasing in quality – but when it comes to Fever 333, there simply aren’t enough superlatives in the English language, let alone in my lexicon, to describe this band!

Combining elements of slicing, cutthroat rap with fiery metal screams and thundering guitars makes for an adrenaline-inducing thrill ride from start to finish. As voracious defenders of the oppressed, they are willing to both hold your fist aloft and elevate your voice, and also deal you a fatal blow if you perpetuate the very violence they are trying, one brick of the wall at a time to eradicate. Or, in Jason’s plainer words: “If you dare disrespect a woman, I’m going to come pound on a motherfucker”.

As well as in his rousing speeches between songs, Fever also never falter in their message in their lyrics too. Most poignant amongst them is the sobering ‘Trigger’, which deals candidly with the inhuman issue of gun violence in the band’s home country of the USA. Filled with passion and unbridled chaos, Jason screams into the mic like a man possessed, pushing the sound in the room to well over 100db, and even scaling the rigging at the side of the stage to bestow his sermon from on high (although he was quickly bested by guitarist Stephen Harrison, who climbed his way to the very roof of the tent, guitar still swinging madly from his hand!).

One thing is for sure – there’s a motherfucking fever coming!

As far as wonderful surprises go, an unexpected set from the stellar cult band The Interrupters is pretty high up on the list!

Bringing all the energy of their unique brand of bouncy, playful ska punk, twinned with an equal dose of fist-pumping anarchy, the Festival Republic Stage seemed to be springing on its very foundations just seconds into the first tune!

From the punchy ‘Title Holder’ to the rousing, sky-gazing ‘On a Turntable’, and on to the cutting ode to survivors of domestic violence that is ‘She Got Arrested’, there was more than enough fight on display here to rouse cathartic feelings of anger and passionate rage. However, as ska punk has always been, this set was entirely about unity, and a little bit of hilarity to brighten up the darker days. You can always rely on the gleaming brass section to inject an instant sense of vitality and fun into proceedings, and guitarist Kevin Bivona took the lead on interacting charmingly with the audience, whilst vocalist Amy stood stoic and impressive amongst her male band mates.

Speaking of togetherness, even some of the band members themselves are blood family! The aforementioned Kevin, drummer Jesse and bassist Justin are brothers by birth – yet the entire band, and the tent at large felt like they were part of one big chosen family too. Nowhere was this more poignant than in ‘By My Side’, an ode to the incredible unifying power of music- and who doesn’t love turning a wall of death into a wall of unity, right?

When pop punk bands mature, their new direction can sometimes feel inauthentic or staged. However, while there is plenty of stage-presence in pogoing legends-turned-dark rock juggernauts As It Is’ set, there is certainly no lack of heart in their impassioned delivery.

Their newer material is pure pop structure, laden with gritty guitar tones and introspective lyrics looking back at a life lived and struggles battled with. On the surface of ‘I Miss 2003’, the references to early 00s rock anthems may seem to be a pure hit of nostalgia, but beneath is a powerful analysis of how the music we absorb in our early teenage years defines us – something As It Is have no doubt been for the generation of rock fans who came after them. Also included is the scything ‘I Lie To Me’, with its cathartic chorus that vocalist Patty Walters delivers with his chest puffed out and eyes gleaming through the gloom.

There are also some older tracks woven in of course – from the heartfelt ‘Hey Rachel’ to the galloping ‘Dial Tones’ to close, throwing it back to the very origin of the band’s wild success. However, the highlight of the set is a track which nestled itself in the midst of the band’s second-latest album, ‘The Truth I’ll Never Tell’. Heartbreakingly poignant and scaldingly candid, it moved many in the crowd to tears with its stark portrayal of mental health and the burden of carrying it alone. However, after witnessing that set, nobody in that tent need ever feel that they are alone again.

For many, All Time Low are a band synonymous with the ever-present feature of alternative TV music channels in their teenage years, and as such, their songs from the latter part of the last decade remain their most beloved – a fact they cheekily acknowledged by teasing the opening of their smash-hit ‘Dear Maria, Count Me In’ mere seconds after appearing onstage!

However, as they gamely instructed the crowd, “You’ll have to wait, because we play that one last!”. So instead, the expectant audience clustered around  the Main Stage West were treated to a sampling of an All Time Low that have grown from a scrappy pop punk quartet into bona-fide pop rock kings. From the pounding radio-ready single ‘Sleeping In’ to the smooth, sultry ‘Monsters’ (in which vocalist Alex Gaskarth pulled off the rap in the bridge, reserved on record for blackbear., with impressive ease), while the sometimes-crude onstage banter from guitarist Jack Barakat was still present-and-correct, musically, the band feel as though they have matured and fully grown into their new sound.

Not that all the classics were absent, of course! Opener ‘Lost in Stereo’ immediately won over the slight hesitation in some of the crowd, and the boyish charm of ‘Damned If I Do Ya, Damned If I Don’t’ was as liberating and endearing as ever. And, of course, the full version of ‘Dear Maria…’ came thundering down at the close, accompanied by a shower of rainbow confetti. So, whether you like your pop punk classic or reimagined, an All Time Low show undoubtedly still has plenty of both – and it is all very, very fun indeed.

As the sun begins to edge lower towards the horizon and the evening begins to draw in, Circa Waves are living up to their name in bringing the calming sway of all the modern indie goodness you could possibly ask for! Bright, stereo-effect guitars, a bouncing, sunny disposition set against vocal lines tinged with melancholy – what more could you want!

Rarely has there been a band’s rise as meteoric as that of Circa Waves, and it shows. Barely a year ago they were carving out their name on the saturated world of indie music with their debut record, and now they are drawing huge crowds to the Main Stage East like moths to a flame. Despite their insistence on wanting to ‘Move to San Francisco’, it seems all the sunshine you could ever need is right here, as the stage is bathed in golden light, and the speakers pump out direct, catchy riffs that wriggle into your ears and latch themselves there for the remainder of the day.

But despite their already impressive launch into the stratosphere, their new track ‘Hell On Earth’ evidence of a renewed fire in the belly of the band to ascend to heights even more atomic than they have yet, as the fizzing guitars serve as a direct punch to the core of your nostalgia for summers gone by. This is summer festival music at its very finest!

What would you get if you mixed the radio-ready energy of Franz Ferdinand with the raw gut-punch of The Jam? As it turns out, they are called Deadletter!

Fusing funk-inspired guitar lines with guttural spoken word lyrics, each track is pumped up and infused with a virile energy. Whereas the musicianship was all about melding discordant instrumentation, the vocals are as stripped back and raw as they come, each word punctuating the air with the plosive force of a bullet. On ‘It Burns’, the discordant guitar tones enfold into a gambolling melody accompanied by a cacophony of crashing cymbals, while the passion behind ‘Fit For Work’, which tells of the ludicrous measures taken by the government to force sick and dislabed people back into employment, certainly captured the latent anger and fire in the bellies of the largest crowd at the stage so far this weekend!

In the end, it was ‘Quite the Uproar’ indeed – as ever, BBC Introducing Stage, thank you for introducing us!

Despite only releasing her debut single a mere three years ago, Hertfordshire’s Griff has taken to the Main Stage East like it is her second home. Throughout her set, her vocals pour out from the stage with perfect diction as well as a huge amount of bright tone for such soaringly high notes. Every track is set against a unique, rippling backdrop of synths, each gilded by the warmth of her hugely impressive vocal range.

On ‘One Foot In Front of the Other’, a chorus of orchestral synths worthy of the Nine Muses underlies an affecting, unearthly ensemble of harmonies; yet, on the even poppier ‘Head on Fire’, her collaboration with soft pop starlet Sigrid, squeaky clean melodies and a precise, marching rhythm take centre stage. Griff is, therefore, an artist who has proven she can cover all bases and encompass the best of what current pop music has to offer – not forgetting a nod to the inspirational women of pop who came before her, in merging her own track ‘One Night’ into sample of Whitney Houston’s timeless disco classic ‘I Wanna Dance With Somebody’. Keep an eye on this one, because Griff is not a name you will be able to forget in the not-too-distant future…

A rousing call to arms to stir the spirit and move your body to action, anyone? If the answer is yes, then look no further than Manchester’s grunge punk stars Witch Fever! Combining a punching bassline that induces tapping feet and bopping heads without effort, with white-hot vocals tinged with a raw energy that you can all but taste on the air, it is undeniable that this is the real deal, plain and simple.

However, this is not a set for the faint-hearted. The darkly delightful ‘I Saw You Dancing’’s whimsical title is a complete and utter misnomer, as its menacing guitar riffs stirred up some of the fiercest mosh pits of the whole weekend. That’s not forgetting the brutal genius of the galloping melodies that rumble and thunder along at breakneck speed through ‘Bully Boy’, each word punctuated with deliberate venom. This is how you mould anger into a powerful piece of art, and it is utterly delightful!