Michael Bonner

Damon Albarn, being something of a native as he hails from nearby Colchester, closes tonight's set by The Good, The Bad & The Queen by displaying his intimate knowledge of the A12. It's perhaps not the most rock 'n' roll way to end a festival, but then The Good, The Bad & The Queen aren't necessarily going to play by the rules.

Ah, so this is art rock, Latitude style. Sad to report, it does nothing very much for me. But I guess it's always going to be hard to follow the Hold Steady.

Something of a full afternoon, I have to report. So busy, in fact, I've only just got round to my first beer of the day. But, happily, I also had my first Latitude highlight: Bat For Lashes.

Or, what I did this morning at Latitude. Despite feeling relatively delicate today (ah, bless the pear cider), a gentle stroll round the Latitude site does wonders for the constitution.

Or the stuff that happens after dark. I'm reporting on Latitude's nocturnal shenanigans, the prime focus of which is Sean Rowley and his Guilty Pleasures empire.

Making our way into the depths of the woods, to the Sunrise Arena, we half expected to be assaulted by a Jack o' the Green, or some ancient, primal force of nature.

Just got on site for my second year at Latitude. In some ways, not much has changed -- there's the familiar stroll down through the woods, passed the coloured sheep and over the lake -- but the crowd seems a lot younger this year.

The directorial debut of photographer Anton Corbijn, who moved to the UK from Holland to shoot Joy Division in 1979, is a moving tribute to Ian Curtis, but suffers from Corbijn’s proximity to the material.

As the sun sinks slowly into the west, we bid you a fond farewell from Knowsley Hall.

Our fearless Picture Editor May Starey has been out shooting the great unwashed. Here's a selection of her best pictures...