Sunday 10/06/07 Day Three @ Isle of Wight Festival, Newport

There’s a strange feeling going round the festival site this morning. Day three, the final day, is somewhat of a second coming. It’s been thirty one long years since The Rolling Stones last appeared at a UK festival and since then a lot of things have changed. The world has been frozen and then defrosted by Cold War; exposed to new technological boundaries, and; plunged into an uncertain twenty first century future. One thing hasn’t changed though. The Rolling Stones are still performing like the same juggernauts of rock that they were thirty one years ago, albeit, even though they’re now all able to travel on public transport free of charge.

As Gigwise travels to The Royal Princess (if you joined us on day two you’ll know where that is) the expectation is already substantial. As the barman asks us what we thought about ‘The Muse’ last night, it’s hard to take our salivating minds off tonight’s headline act for long enough to answer his question, or at least do it justice. After blogging, we venture into Newport to once again take advantage of the liberated access that Isle of Wight festival goers are gifted with. We’re not alone though today, it seems more people have joined the enlightened revolution because the town is buzzing and it’s barely 11am. Toilets in pubs have queues stretching out the door, cash points are being drained of their wealth and Evian seemingly can’t produce enough water to quench peoples thirst.

Of the event’s three days, the Sunday is perhaps the most musically relaxed. Today’s it’s a true pop fest. As Gigwise makes it to the main stage, for example, we’re greeted by Melanie C – who has seemingly ditched her Spice Girl ‘girl power’ ties in favour of a more serious full band setup. To a degree it works as well, but, it’s all too obvious as to why the singer is more famed in mainland Europe as a solo performer than she is in the UK. Her live show possesses a Fuerteventura-esque night-club energy, as opposed to the more respected venues she’d hope to be playing in. And, to her detriment, she still can’t escape the contagiousness of her Brian Adams collaboration, ‘When You’re Gone,’ which is all this crowd really seem to expect her set to give them.

There must be a bug going round backstage as well today, as James Morrison (yes, we told you it was a ‘pop’ fest) also delivers a set with less energy than an overweight cheetah. He may well be overcome by the prospect of performing at one of the country’s most established festivals, but that’s no reason to perform song’s off his debut album, like, ‘You Give Me Something’ and ‘Undiscovered’ which leave such a disappointing and defunct impression.

Thanks to Morrison’s lacklustre performance, Gigwise ventures off in search of a Mr Whippy boost. No, we’re not nine again, we’re just hot – its 25 degrees in this field, you know, and that’s not even taking into consideration the cold front of performances that have blown through so far today.

Suitably refreshed, and a little disturbed (after the Smurfs yesterday, today we’ve been confronted by men in drag - what is it with men and dressing up?), we return to the main stage to watch Paolo Nutini. While the Scot may have been grouped with the likes of Morrison and James Blunt as one of Britain’s best male exports, after today’s performance Gigwise really can’t see why. Quite frankly, Nutini is someone in a league of his own. Sure, he arrives on stage grinning like a Cheshire cat and clinging onto what we’re confident is not his first lager of the day. Sure, his singing at times is inaudible as he sings into his chest, and, sure, he doesn’t seem to be able to get any audio into his earpiece throughout the whole performance but we can look past all that. For the duration of his short set, Nutini reminds Gigwise of what pop can sound like. He’s helped of course by his band, who give his voice an added slice of funk. The sun burnt crowd love him too - which is always a good thing. From ‘New Shoes’ to ‘Jenny Don’t Be Hasty’ with a hint of a new song, entitled, ‘Funky Cigarette’ thrown in, Nutini proves to be quite a character.

Finally the final day seems to be underway. The solo acts have been and gone (in most cases, bar Nutini, that’s a welcome thing) and there’s just about time for two more bands before you know who takes to the stage. First up, it’s The Fratellis, who maintain Nutini’s Scottish patronage but drop the funk for their commercial indie rock. The Fratellis show that they are not the connoisseurs of catchy vocal hooks for nothing, as they deliver all their party favourites, including, ‘Henrietta’ and ‘Flat head,’ with frenetic energy during their snappy set. It’s set-closer, ‘Chelsea Dagger,’ which gets the best reception, however. “Du-do-do-du-do-do-du” sing the crowd in unison. It’s an impressive moment, but, The Fratellis’ general performance doesn’t suggest that in the future they can offer much more than a boozed up sing-along hook.

Debauched nights ploughing threw lines of cocaine, claims that he can out drink Kasabian…no we’re not talking about Pete Doherty again, up until recently, this was the private life of Tom Chaplin, the once upon a time squeaky clean Keane front man. When the singer went into rehab shortly after the band released their second album, ‘Under The Iron Sea,’ last year, the band looked destined for the end. Almost a year since Chaplin entered rehab, however, and Keane have used the Isle of Wight to mark their official festival comeback. Opening with the aptly entitled, ‘Put It Behind You,’ the band rattle through a set which Gigwise would state (next band aside) provides the most crowd participation of any other band this weekend. Musically, although they’re no more than a effects laden piano and a drum kit, Keane sound as tight as ever during fan favourites, ‘Everybody’s Changing’ and ‘Crystal Ball.’