Imelda May and her energetic band barely paused to spin the upright bass between songs, powering through Mayhem and Johnny Got A Boom Boom while beating the bodhrán drum. Swing dancers with immaculate victory rolls shimmied and spun at the back of the crowd, while a row of pyjama-wearing teens solemnly did the mashed potato.

  A relaxed crowd sprawled on the floor of the Arena tent nodding sagely along to the Hidden Orchestra as their intricate soundscapes pulsed and evolved, trumpet samples and electric violin rising through the misty atmosphere.

  Cheerful headliners De La Soul got the party going with hits like Three Is The Magic Number and Me Myself And I, while Mase’s gusty laughter segued into a cover of Gorillaz’s Feelgood.

  However, the breakout star in need of a bigger stage was Gregory Porter: queues stretched 15 metres out of each entrance to Ronnie Scott’s jam-packed Big Top.

  In his trademark hat and dapper jacket, Porter’s rich baritone voice was perfectly supported by soulful arrangements reminiscent of Nina Simone. Alto sax player Yosuke Sato’s incendiary solo was a highlight on 1960 What? Finally, the impassioned No Love Dying drew an emotional call-and-response from the audience, who hollered for an encore.