For the organisers of British Summer Time I'd imagine the Friday show, more aptly titled Black Sabbath Time, was as much an anomaly as the Saturday of this year's Glastonbury. Hordes of black clothed, denim-clad metalheads entering the festival site must have been an odd sight for a festival more concerned with indie and pop artists this year. Did the quaint village setting, the fairground rides and the health, alternative grub do anything to deter the crowds and make them feel so far from home the day was unenjoyable? Like hell did it.

And that's the thing with one day festivals like this, it's the crowd that makes or breaks it. The congested, hectic schedule could have splintered the crowd too thinly across too many stages, or left people only catching glimpses of bands and not giving their all during those short viewing minutes. No-one can truly get into a band's set and get the full vibe with only two songs to watch. In all honesty, the day could have Wolfmother and Gallows migrating to the main stage to avoid dragging people away from the main attraction, there were a few Wolfmother t-shirts making their way forward into Black Sabbath's set. However, by the time Soundgarden were on stage you'd never have guessed people were tired from travelling from stage to stage to catch bands, the small festival site probably helped that, and that certainly helped the atmosphere amongst the crowds later into the evening.

I arrived in time for Motorhead; a guy from West Wales, used to the coastal breezes that come part and parcel with that area can hardly tolerate those scorching July temperatures in London, especially while wearing black garb. There isn't more that can be said about Motorhead that hasn't already been said. Given Lemmy's health issues it was wonderful to just have the band on stage at all, churning out the regulars with ferocity and a good deal of bile, much to crowds delight. No matter how many times you've heard it, Lemmy proclaiming "We are Motorhead...and we play rock and roll" is always a fist in the air, cheering moment.

Just two weeks after Linkin Park played Hybrid Theory in full (Spoiler: Theme Alert!) to much acclaim, it was fantastic to see their forefathers and one of the two most popular pioneers of rap rock, Faith No More, take to the stage in London for the first time in a couple of years. Time has been kind to Faith No More, their songs still sound fresh and more importantly, captivating. The opening salvo of 'Zombie Eaters', 'From Out Of Nowhere' and 'Epic' was more than enough to whip the crowd into a frenzy, there were many jumping and dancing towards the back of the field, and the two as yet untitled songs proved the band still had some sort of musical relevancy were a new album to come out and don't need to purely trade on their back catalogue. They still remain an intriguing and mystifying band, adorning the stage with flowers and clothed in priesthood gear, with Mike Patton regularly reciting religious verses. It was difficult to take your eyes off the stage such was the nature of their performance, with a sense of wondering what Patton would do or say next. Couple that with a stunning musical performance and it's easy to see why the crowd were fixated with Faith No More and why a reunion still seems right. They were certainly a big surprise for me.

I think it'd be fair to say that Chris Cornell had me, and indeed the rest of the audience, the moment he stepped on stage and announced Soundgarden would playing Superunknown for the last time this tour and maybe the last time ever. What followed was 80 minutes of pure musical awesomeness (warning, I'm a big Soundgarden fan. Ignore the gushing if you need to), a magnificent run through of differing musical styles, of a fairly underrated album which really is one of the last seminal rock albums. It should be considered so anyway. The live setting allowed songs to be fleshed out in certain areas and they sounded all the better for it, the breakdown of 'Spoonman' and 'Head Down', a tad longer instrumental section to 'My Wave' for example, while others benefitted from that raw, brutal sound that can only be captured in the live arena.

'Let Me Drown' was explosive as the set opener and 'Superunknown', complete with Mike McCready, had more of a punch to it. That live setting also proved the band has lost none of its brooding intensity as 'Black Hole Sun', 'Fell on Black Days', 'Mailman' and 'Like Suicide' clearly demonstrated. In some cases, it was just awesome to hear some songs that one would've thought were long since retired from the live arena and in having the songs in the set it really showed what a diverse album Superunknown is. Playing the album was undoubtedly a rare treat, but what a treat to pull out as it showcased the band at their very best; Chris Cornell has lost none of his vocal range. It also helped to add to the sense of occasion of the gig, playing Superunknown gave the show a special feel and even an intimate feeling; a happening that could only be shared by a minority of people, which for a show of this size was something special to accomplish. It could've been too big a risk, too big an idea to try to execute at a massive show but Soundgarden nailed it.

In terms of getting the crowd pumped it was the perfect thing to lead into Black Sabbath, the crowd was energised by the time sirens started wailing and Ozzy began cackling. A cry of "Let me see those fucking hands!" was the only call to arms the crowd needed as Sabbath ripped through a hits-packed set. This wasn't a band that sounded like they needed to rely on nostalgia though. Firstly, the inclusion of two songs from 13, 'Age of Reason' and 'God is Dead?' proved modern Sabbath was just as good as classic Sabbath, and the classic tunes sounded powerful, beefed-up and, quite frankly, dangerous. Essentially, they sounded as if they were written in the noughties. There was a dark and intense atmosphere throughout the set, partly due to the ominous rainclouds that congregated above three songs into the set (seriously, how spooky is that?!) and partly due to the crowd participation, Hyde Park was reverberating with chants of 'OI!' at Ozzy's command and a downright chilling chant of the guitar riff from 'Iron Man' throughout the entire song, at times drowning out the band. By the end of the night the crowd wasn't just a mass of people, it resembled an almost demonic horde, enchanted and mesmerised by the band on stage, and didn't really need encouraging. The smile on Ozzy's face said it all. If this is to be Black Sabbath's last hurrah then they ended on the highest note possible, as a band still able to captivate an audience and own a very, very large stage. If this isn't the end, well, the future's pretty exciting but this will be one show that'll be hard to top.