Much of Friday night was spent frantically checking every single weather report possible. After being greeted as I stepped off the train by beaming sunshine, the forecast of storms to hit London on Saturday seemed greatly exaggerated but weather reporters were adamant it would still turn Victoria Park, the home of Field Day, into a muddy swamp. And yet, despite the showers in the morning, the People's Park was bathed in glorious sunshine with barely a cloud in the sky; perfect weather to explore this boutique festival in the heart of London, still retaining its independent spirit despite adding an extra day to the proceedings.

The Saturday of Field Day was one that rewarded curiosity. The relatively compact site made wandering from stage to stage a pretty easy affair and often ended with you finding a great new band to fall in love with. It's a festival that really wants you to get stuck in to discovering new acts and the line up of relative unknowns is incredibly strong, with far more hits than misses on my schedule. After stuffing my face with Motherclucker's incredible fried chicken, things kicked off at The Shacklewell Arms stage courtesy of the shiny magical pop of classically trained flautist Lucy Taylor, aka Pawws. Her tinkling '80s hooks and dazzling pop belters were the perfect way to open the festival; a sun dance to the Field Day gods to keep the great weather and great music coming. And both do, in spades.

Blood Orange @ Field Day 2014

The main stage, the only one to be fully out in the heat of the sun, is opened by Arthur Beatrice whose tight, clinical, often cold songs are allowed to loosen up a bit and given a jazzy feel that perfectly suit the early afternoon slot. Like Warpaint later in the day, they know exactly how to adapt their songs to the mood of the set without losing any of what makes them great. Those lounging out in the sun with their beers soon start to rouse and are drawn, like moths to a flame, to hear more of these lush, moody songs. Sky Ferreira is soon making the main stage her own, powering through the gloom pop bangers that make Night Time, My Time one of the best pop albums of the year with an air of effortless cool and a weather-inappropriate parka. In spite of the problems with her microphone, Ferreira belts those mettlesome tales of lost loves and angst like a true star against the gritty guitars and synths with attitude; set closer 'You're Not The One' still riding high as one of the best songs of last year.

The post-teatime slots all across the festival turn the site into one big party; Parklife but without the knobheads. As I stumbled around the site in an electronic music haze, each tent pumps sounds that force some part of my body to move and shake. Simian Mobile Disco continue to do what they've been doing so well since 2006's 'Hustler', filling the Crack stage with tracks that could set the dancefloor alight, whilst over at the Resident Advisor stage, Omar Souleyman leaves those present both baffled and elated by the infectious blend of traditional Middle Eastern folk and four-to-the-floor techno beats that, at once, sound so wholly foreign but so recognisable; the RA tent quickly transformed into the most unlikely sounding dance party.

Whilst I admittedly wasn't as big of a fan of the album as I wanted to be, back at the Crack stage, the tracks from SOHN's debut sound luscious and captivating, causing mass singalongs amongst the crowd and people rushing to get in the throng because they "proper love this one, man". The glitchiness of 'Artifice' and the hypnotic beauty of 'Bloodflows' sound incredible in a live setting and the crowd were surely in agreement. Meanwhile, Dev Hynes' latest iteration, Blood Orange brought the 90s back to Field Day on the main stage; the blissful, sunsoaked tracks from Cupid Deluxe, as well as a brief sojourn into girlfriend Samantha Urbani back catalogue to have a go at cracking out old Friends classic 'I'm His Girl', prove that Hynes really knows how to make a bloody good pop tune. He swaggers around the stage with that same effortless cool (one that just stops short of being unbearably pretentious) that Sky Ferreira brought to the stage earlier, utterly comfortable in front of this crowd and right at home in the glorious sun.

South Africa's John Wizards have the same bewilderingly hyperactive energy that Omar Souleyman's tunes had, though were far more active than Souleyman himself. I didn't really have any intention of seeing them, having never really heard of them, but boy am I glad I did. The whole spectacle was refreshingly buoyant, the sight of a group of people hoping to have as much fun as their crowd, blasting out African-influenced pop tunes that were loaded with fun. It was a surprisingly perfect segue into Todd Terje over at Resident Advisor, whose candy coloured space-disco I'd been looking forward to all day. There's no bones about it, It's Album Time is, so far, my favourite record of the year and to see the crowd go absolutely bonkers to the latin infused 'Svensk Sas' among other album cuts was an absolute joy. The whole thing was a rollercoaster of fun, the musical equivalent of shoving your face into the most delicious trifle in the world. It's safe to say my love for Todd Terje isn't waning any time soon!

Warpaintt @ Field Day 2014

Warpaint successfully manage to translate their gloom filled atmospheric rock into hazy, blissful noir pop that feels right at home in the early evening sun, though I couldn't help think it could've been lifted to another level if they on a little bit later, as the sun was just about to set. Still, they ride the hazy wave that is their back catalogue with the utmost confidence, cracking out tracks from both albums and even their superb cover of David Bowie's 'Ashes to Ashes', which was actually my introduction to the band just before their debut came out in 2010. Jon Hopkins is soon to take over the main stage, inflatable balls and all. His energy packed set, very heavy on the bass, is one that is impossible to escape; the pulsating rhythms floating through the entire site. The softer focuses of his Mercury nominated album Immunity are given a much sharper edge, growling with a real malevolence, willing you to dance. It's one of those sets that makes time stand still, so hypnotised are you by this one man mashing at buttons and twiddling knobs with the ferocity of a mad scientist. My only issue is that, like Warpaint, the scheduling seems a little off and Hopkins could have used either a roof to really let the light show run wild or just be scheduled after sundown. Despite that little grumble, though, Hopkins' set was truly mesmerising.

Between the two, I took a quick trip over to the Shacklewell Arms stage to see Courtney Barnett who showed just exactly why her grungy anti-folk take on Bob Dylan was one of my favourite sets of Live at Leeds this year. But once all this was done, it was time to head back over to the main stage to see headliners Metronomy. You hear a lot that bands have "matured" and "become more serious" since their debut albums, but it's none more evident than with Metronomy who have long ditched the synchronised chest lights and mischievous tunes of their 2006 debut Pip Paine (Pay The £5000 You Owe) for something altogether much tighter. You can tell just by looking at their stage get-up, colourful podiums, crisp white suits and clouds in the background all under a glitter ball; a pop gig at the pearly gates. With Wurlitzer in tow, the beachfront anthems of English Riviera and the 70s/80s pop stylings of Love Letters transform Victoria Park into a lusciously crisp and clean seaside, made even more true by the whirling fairground rides just in view behind the stage. The likes of 'The Bay' and 'Love Letters' prove perfect headline fodder, as crisp and as beautiful as their pristine white suits, and Metronomy's secret weapon, drummer Anna Prior, gets plenty of time to shine whether behind her drums or not as a constant driving force with both her stunning backing vocals or her relentless beats. The real highlights come, as someone who loves their earlier, weirder stuff, when they dip into Nights Out (although, sadly, no 'A Thing For Me') and the crowd seemed to agree as the band sent them swirling like mad dogs to the ferocious set closer 'You Could Easily Have Me' from their debut; the perfect sugar rush of an end to a wonderful day of music.

Field Day 2014

Sunday almost feels like a whole other festival, perhaps even just an extended Pixies gig with plenty of support acts in tow. With half the site closed off, things are even more compact but I found myself sticking at the mainstage for a day of psychedelia before Pixies took to the stage. The 60s acid rock revival of Temples suit the balmy sunshine that has persisted into Sunday; the hazy rhythms and frontman James Bagshaw's hair making it seem as though you've traveled back in time to a long past T-Rex gig. It's a psychedelic, shoegazey revival that next act, The Horrors seems to have sparked up when they ditched their goth-pastiche schtick of their first album (coincidentally, the one album they no longer play songs from) for acid trips and fuzz pedals. It's a change that has suited them well, looking every bit a band that are ostensibly supporting Pixies. Though their recent effort, Luminous, does seem to stick too closely to that formula they discovered back in 2009, it's still great to hear the likes of 'Still Life' and 'I Can See Through You' floating lazily in the afternoon sun. Things are definitely much more downtempo throughout the day, acting as more of a hangover relief to the day before, at least on the mainstage.

Future Islands manage to garner "Tent Full" signs all along the outskirts of the Shacklewell Arms tent but, as I try to work my way in, I still don't see what everyone else seems to be seeing in them. I definitely think the hype bus sped right past me. Whilst it is great they are finally getting recognition for their hard work, and there's no denying they put in a lot of hard work, they just sound "alright" to me, though the packed tent evidently have been caught up in the magic, and all the more for them. Instead, I wander back over to the mainstage to see festival closers Pixies. After having time to digest it and to think about how I actually felt about their set, I still haven't really pinned it down. All I can really decipher is that there was something 'off' about the whole thing, and it seems reviews of their recent shows tend to agree. There's absolutely nothing wrong with their performance, technically; hearing the likes of 'Gouge Away', 'Here Comes Your Man', 'Isla De Encanta' is a fantastic experience. Minus the most recent tracks which I just can't get in to, the setlist is packed to the rafters with pretty much all my favourite Pixies songs bar one or two. The problem comes from the band themselves who just appear to be going through the motions. Whack a set of headphones on everyone and blast the album recordings of the setlist through them and the same experience would be had, lots of people listening to great rock songs and that's it. With no onstage banter, it's almost as if the band weren't there, a problem only exacerbated when you consider that, just the day before, crowds had witnessed the likes of John Wizards, Fat White Family, and Neneh Cherry tearing up stages with gusto. It's not so much disappointing as it is underwhelming. Luckily, the atmosphere of the crowd who, like myself, were just happy to hear incredible songs being played incredibly well picked the set up to make it at least somewhat enjoyable in spite of the lack of atmosphere from the band themselves.

Sunday was a bit of a hit-and-miss kind of day, seemingly at odds with the refreshing selection on Saturday where exploration yielded exciting results almost every time, but still had its fair share of highlights (the crowd singalong to 'Monkey Gone To Heaven' was utterly wonderful) and some of the best mac and cheese I've ever had in my life courtesy of Anna Maes. Field Day in general was an utter delight, the sunsoaked weekend providing a mine of great new bands to discover, fantastic food and drink, and a relaxed atmosphere right in the centre of London, though you can't help but feel that maybe spreading it out over two days stretched it a little too thin, especially considering the Sunday, so perhaps a move back to being Field Day might be a good idea. Also, more mac and cheese.