Every May, Victoria Park transforms from an East End park into a musical mecca, with a little help from a few stages, and a massive line-up crammed into the space of one day. This year is no exception. The sun is shining, remarkably, and swathes of people are descending on Hackney all at once.

After arriving to a slightly underwhelming Stealing Sheep, who deliver nice harmonies but little else to really get excited about, we head straight for Chvrches in the colossal Laneway Tent, keen to get a slice of upbeat electro-pop instead. There's a growing crowd who have had the same idea, too, and things quickly get underway with 'Lies'. The bass levels are taking no prisoners, and the stage is surrounded by swelling synth lines and perfectly executed vocal manipulation. Frontwoman Lauren Mayberry's vocals are crystal clear and faultless, and while she is fairly static, an endearing sort of shyness is fast becoming Mayberry's onstage trademark. The crowd are having a great time too, and polite head nodding turns into full on limb flailing by the time newly debuted song 'Gun' kicks in. By the end of the set we're delighted, and ever so slightly in need of a breather.

Still, there's not time for that, because after a quick refreshing beverage, we're back at Laneway for Savages. Angry, energetic, and absolutely frentic, Jehnny Beth has stage presence in the tonnes. The band's recently released debut album Silence Yourself is hard-hitting enough on record, but live it transforms into an altogether more brutal beast. 'Husbands' and 'No Face' particularly are unstoppable, clattering along at breakneck speed and laced with endless reverb. The entire band are throwing themselves around the stage like women possessed and end their terrific set to rapturous applause. Oh, and Savages will be pleased to know most people are far too absorbed to bother whipping out camera phones during the set.

After shoveling down a Herman German with currywurst for sustenance, we quickly pace it to the main stage, rolling up just in time for Solange's final song, 'Losing You'. In a monochrome power suit, our current favourite diva is owning it, bringing the crowds pop gold with an alternative leaning. After dancing our hearts out in the style of the song's music video and yelling the chorus at ear-splitting volumes, it's all over far too soon.

Despite the huge selection on stages in Victoria Park, Laneway is quickly becoming the afternoon's main destination, with Mount Kimbie being the next fixture. After sighting somebody carrying a huge inflatable penis towards the tent (as you do), we join the throngs of people waiting for something special. We're not disappointed. Delivering their electronic wares with a unique and flawless touch of handling, the likes of the flawless 'Carbonated' are rendered almost perfect live, without a single laptop in sight. It's without a doubt the best thing we've seen so far today. After losing ourselves in the glitchy haze of Mount Kimbie, we're left a little dazed, and extremely impressed, too.

Meanwhile Bat For Lashes is gracing the main stage, Eat Your Own Ears, wearing an incredible midriff bearing piece of origami that channels Joseph's Technicolour dreamcoat. We make our way there for the latter half of the set. The sun is soldiering on like a trooper, and it really doesn't get much better as the plunking piano line of 'Laura' drifts across Victoria Park. It's when the ethereal melodies of 'Pearl's Dream' start up, though – with stunning powerhouse vocals from Natasha Khan, and a pulsing drum beat – that this set hits its peak.

After a brief interlude to swap things around on stage, Four Tet steps up. He might be a small speck of a man behind a sound deck, but with the help of psychedelically flavoured lighting and a lot of oversized balloons, Kieran Hebden still manages to create something special. As darkness falls and the balloons bob overhead, someone remarks slightly drunkenly that it reminds them of that amazing HD TV advert where thousands of bouncy balls tumble down the street. Four Tet loses the attention of some people in the crowd – a neighbouring punter told us “this is fucking boring” when we asked for his review. However, for those who adore Hebden's magnificent album 'There Is Love In You', it's just under an hour of pure electronic bliss.

Wrapping up proceedings at Field Day, it's Animal Collective, a band who, with ten studio albums to their name, are easily the biggest name on the bill. Nimbly segueing between songs, AC's set sounds very jammy, and after about ten minutes there is a lot of wandering and migration from less enthused members of the audience. Selfish as it might seem, we're actually quite pleased, because we can get closer to the front and those amazing geometric centipedes and snaggleteeth surrounding the band. Perhaps suffering a little from following Four Tet, the bass levels are slightly overpowering Panda Bear's yelping vocals at first, but by the glimmering pinnacle 'My Girls', everything has slotted into place perfectly. The balloons continue to ebb across the crowd, glowsticks are turning up everywhere, and for Animal Collective fans at least, Deakin, Panda Bear, Avey Tare and Geologist have delivered experimental weirdness at it's most engaging.