In terms of classic rock bands, 2002's line up could never even begin to compare to that of 1970, but with enough bands booked to keep the one massive stage full all day, there's a varied and eclectic range of guitar based music on offer.  The afternoon's wind and showers are accompanied by a handful of supposedly "up and coming" acts, namely Neglected Youth (a band from the island), Johnny 4, DNA Doll and The Bees (another local band for local people).  All these acts are a good soundtrack to the improving weather, and are more than capable musicians - with The Bees in particular providing a summery offering of jazzy vibes.  However, performing under the ominous shadow of the artists who have played the island before - as well as the acts who are to follow this evening - takes its toll on these groups.  If one were to believe the publicity surrounding these bands - and indeed this festival - one would feel at the edge of a new musical revolution.  Not true, as (a): Rock Island is vastly undersold, selling an estimated 8,000 of the 20,000 tickets made available, and (b): Rock Island's afternoon acts offer nothing new, innovative or original when compared with the last 12 years of alternative music.  Any of these bands could be lucky enough to be swiped up by a major label and played on The Evening Session, but the chances are they will disappear fairly rapidly into relative obscurity.

The day's real entertainment begins with The Coral.  The Coral are yet another band the NME have predicted as the future of music - they really should stop doing that: like one band could ever change contemporary music all by themselves - not even The Beatles managed that.  Nevertheless, their blend of indie sensibilities (very occasionally bordering on the Inspiral Carpets) and American west coast vocal harmonies reminiscent of The Band and The Byrds, provides a pleasing aural backdrop to the slowly clearing skies.  Again, nothing actually new, but a fresh and informed choice of influences for a group to wear on their sleeves.

Things well and truly start to rock out with Hundred Reasons.   Looking like either Brian Klugman (a.k.a. Kirby in Frazier), or Sideshow Bob from The Simpsons - skinny singer Colin leaps around the stage as if his life depended on it.  Nice, tight, angry rock music which leaves the listener wondering if Colin has spent far too much time practicing for his appearance on Stars In Their Eyes as Omar from At The Drive-In.  All he'd need to do is dye his hair jet black, as he's got the vocal impression perfected, and his band are the best tribute band At The Drive-In could hope for.

Starsailor have spent the last year-and-a-half building up a reputation as a fine, Van Morrison influenced live band, whilst slowly moving from the Radio One playlist down to almost every easy-listening, middle of the road local radio station.  Tailor made to be a band your parents will love, Starsailor carry more urgency on the stage, mainly due to James Walsh's amazing vocal ability.  On record, his voice can sometimes seem over the top, but live - and accompanying a languid sunset - it makes perfect sense.  Yet James is so bashful, managing only a few "thank you"s and a shy attempt at a topical World Cup prediction in between songs.  It was unclear whether shyness or perfectionism abruptly stopped a solo acoustic number twice, but an extended and note perfect 'Goodsouls', which sounded better than on record, more than makes up for this.  Starsailor are anything but "alternative", and not quite an essential album purchase, but live in both small venues and here on the main outdoor stage they are essential.  'Goodsouls' has to go down as the feel-good song of the day.

Of all the artists here today, only the final three have the clout to be officially considered "classic" artists.   Sexy, current and certainly a crowd-puller here at Rock Island, Ash this month celebrate ten years together.  They truly can't be faulted live, with a greatest hits set charting their rise and rise from 'Jack Names The Planets' up to the fantastic 'Submission', complete with it's kitsch orchestra-hit samples, sleazy beats, and heavily breathed backing vocals from Charlotte.  Although Ash's music has always been of the Punk-pop variety, tonight's polished performance demonstrates more than ever where the band's influences truly lie.  Take away Ash's distortion pedals and amplifiers, and you have strong melodies, mature lyrics and classic song structures worthy only of the master, Burt Bacharach.  As with The Charlatans, Ash are a hard working band who have earned their status as one of this country's finest acts, both live and on record.

As night draws in, Robert Plant and Strange Sensations trawl through a set of progressive rock classics that seem to satisfy the fans old enough to remember the last time this festival happened.  Not one to be clued up on Led Zeppelin other than 'Whole Lotta Love' and the ubiquitous 'Stairway To Heaven', this reviewer found the set enjoyable, in a very unashamedly retrospective sort of way - mainly due to Robert Plant's voice, which still remains powerful after these many, many years.  In hindsight: a good choice for a festival that hasn't existed since the seventies.  Shame about those long silent pauses due to technical difficulties though...

Finally: a dark sky, and what the majority of the audience came for - The Charlantans.  Well into a career spanning some twelve years and rising, The Charlatans are unquestionably one of rock's formidable artists.  In some respects they remain a band universally liked by everyone rather than loved, but the many difficulties thay have endured and their perseverance have gained them the accolade of being possibly every alternative music fan's second favourite band.

The set contains a broad summary of their back catalogue, with the chunky Hammond organ dominating throughout.  Perhaps it speaks volumes of The Charlatan's longevity that Tim Burgess is beginning to both look similar to, and take on the middle-aged mannerisms of indie's other granddad, New Order's Barney Sumner.  Hell, he even has the same spoken voice, and tendency to write songs in a key just ever-so-slightly too high for his range.  But it works, sounds distinctive, and gets the rapidly warming-up crowd whipped up into a satisfying frenzy.  Expected tracks such as the group's first hit 'The Only One I Know' and the simply stunning 'Weirdo' (surely their finest song) sit alongside more sensitive, mellow tunes like 'A Man Needs To Be Told'.  Superb.

When considering the Isle Of Wight festival's rich musical heritage, The Charlatans were the perfect band to end Rock Island after some classic and not-so-classic performances from some legendary and not-to-be-legendary artists.  This year's poor ticket sales may lead to an all too brief renaissance for the festival, but perhaps with a more carefully targeted advertising campaign next year - and the booking of a larger number of established acts - the show may go on.

Review: Andrew Morrison