Blessed with perfect weekend weather, swarms of locals and determined commuters descended upon Bendigo’s showgrounds for the seventh annual Groovin The Moo festival. It would proceed as an event in possession of both pros and cons in an attempt to stake its claim as one of the country’s premier festival offerings.

The Holidays, fresh from a national tour, would be charged with the task of greeting most patrons and ushering in the afternoon. The NSW-based band drew a commendable following, the festival’s Moolin Rouge tent packed out. Unfortunately, their set suffered from some shaky beginnings, vocal deliveries failing to reward the many punters crammed into the pit before the stage. 'Let's get out of touch!' suggested front man Simon Jones amidst an extended funky inclusion, the track running its course without any real fanfare. This trend would be sustained throughout much of the set, The Holidays appearing appealing enough without any great impact. It was strange that midway through their set, a drum track was substituted into the line-up. Noting the already established presence of both a drummer and percussionist in the band, one has to wonder if it was really necessary to favour an electronic component to perform an appallingly basic rhythm.

Soon, "Monday Morning Bemuda Triangle" - a 3rd generation Vampire Weekend jungle jam - was in full swing, but came across as a bit indulgent and overblown. It typified their set accurately, conveying a fine sense of musicianship without ever feeling too irresistible. That’ll happen when a band’s caught up in a fairly harmless pop rock aesthetic, unfortunately. Overall, a fun aside but ultimately unconvincing and a tad inconsequential.

"When is Washington going to be done?" questions an accidental satirist amidst an enormous reception for The Jezabels. Admittedly, from afar, Washington and Hayley Marey do bear an apparent similarity in image. That’s where the likeness ends however, Marey providing a sultry, engaging presence with an undeniable voice. She’s a strong focal point for the band and does much to define their indie-rock angst in a constant state of slow-burning reverberation. Perhaps in a more intimate setting, The Jezabels may have succeeded in finding that enchanting, mesmerising quality for which they are renowned, but something just wasn’t working here. One of the enduring problems they face is that, despite a high quality of performance as per usual, the band really lack variety in their material. It needs a critical second dimension to ensure they aren’t too familiar to an audience by the end of their time on stage. Once you catch onto their evocative rock-chick schtick, there’s not much left. Nevertheless, there’s much potential to be found in their pop and it will be interesting to see where such talents take them.

As a brief aside, it was around this point in the day that desperate concern began to emerge. An attempt to see The Jezabels yielded much frustration for many punters as the festival’s organisational errors became blatantly obvious. In an effort to accommodate underage patrons, Groovin The Moo ensured that a secured, fenced-off licensed area was provided for those who wished to indulge in a beverage or two. This is nothing unusual, citing the Big Day Out as an example. What the Big Day Out definitely don’t do, is allocate an entire paddock for their licensed area whilst compromising the accessibility of their two premier stages. This was the scenario however, that the organisers behind Groovin The Moo had enforced upon their ticket-holders.

With punters crushed like sardines in a tin can - not only unwilling, but unable to move - the idea of getting up close for your favourite band seemed, more often than not, utterly futile. It should be noted that The Jezabels had succeeded in filling the entire unlicensed pit before the stages. If you wanted to get as close as possible to them within the unlicensed area, you would have to bravely push through a stubborn crowd to reach the less busy turf next to the Udder Stage. As if getting there wasn’t a nightmare, your reward was a complete cul-de-sac: the stage surrounds entirely enclosed with only a handful of stalls not worth the time or effort it took to get there. If you wanted to leave, you’d have to go back through the crowd - of course - until finally you had the rest of the festival in which to move around. It was the equivalent of shuffling patrons into a shoebox every time a new artist was due to appear. It was a suffocating, stupid and utterly reprehensible setup that caused nothing but dissatisfaction for those that weren’t content to mix with a slew of boozed-up punters a hundred metres from the stage.

Back to the music. Following on from The Jezabels was Darwin Deez, an American indie-rocker and the first international act for the day. The band professed a simplistic alternative approach, one that was effective in charming the crowd, as patrons took to friends' shoulders and hands were raised aloft. With a stop-start guitar aesthetic reminscent of The Strokes’ hey day, Deez was quick to instill a party vibe, the festival in dire need of exactly that as the punters continued to file in.

"Constellations" was one of the highlights of the set, a dynamic, efficient tune bearing an apparently effortless, methodical pop sensibility. A memorable moment came in the form of a comic interlude, in which the band began to folic to a recording of Enya's Orinoco Flow, before the serenity was swiftly broken by Rage Against The Machine. A bizarre addition to proceedings, but the sense of humor was welcomed by all and seemed to fit just right. All in all, this set was exactly what you’d have expected if familiar with Darwin Deez’ studio recordings, in a fun but slightly forgettable patch of the day.

In the meantime, many had flocked to the Udder Stage in the anticipation of Norway’s electro-rock act Datarock. Gracing the stage in their red hoodies and tracksuit pants as giant spheres were launched into the pit by stagehands, it was clear that a flamboyant dance party was on its way. Their dense, rigid take on electro-rock was a big hit, effectively whipping everyone into a frenzy. It was no surprise, as the members of Datarock excelled in their brand of over-the-top showmanship, rocking without inhibition. Lots of organised spots of stage shenanigans placed throughout their performance meant that this was one entertaining spectacle indeed, their mix of impassioned dance anthems only imposing such a notion further. One could claim that it was all a bit gimmicky, but then that’s part of the allure. Besides, if gimmicky happens to entail a dynamite sax solo here and there, then gimmicky will do just fine. Datarock had the crowd won over the moment they graced the stage and took full advantage of it right throughout their set in what became a fun, frivolous occasion.

Having spent the night before at Melbourne’s Strike Bowling Bar as caged animals atop a tiny, limited stage, you just knew The Go! Team were about to relish the opportunity to flesh out their craft on a more expansive platform. A wildly kinetic display was exactly what Groovin The Moo received, frontwoman Ninja already strutting her stuff as "T.O.R.N.A.D.O." exploded with furious bouts of brass. The Go! Team effectively affirmed the strong live reports that have defined their band for so long, indulging in an emphatic, riveting variety of songs taken from each of their studio albums. Their approach had a desired effect on the amassed crowd, firing everyone into spots of embarrassing dance follies with limbs flailing all over the place. Amidst the chaos, The Go! Team were cool in their cohesion, from the innocent, sugar-sweet "Secretary Song" to the thunderous "Power Is On". Whichever way you look at it, The Go! Team are impressive in both their execution and their stage antics - a fierce fitness regime - and their electricity is palpable. It really is a joy to witness their party in motion, each member consumed by their craft and found within a crazed, bewitching work ethic. A must for any festival goer.

Melbourne’s Architecture In Helsinki soon graced the same stage, having recently released their acclaimed album Moment Bends. "Do The Whirlwind" would open proceedings, the band enthusiastic in their performance of rich, cohesive electro-pop. They could do no wrong, as the gloriously funky "Hold Music" was met with rapturous appreciation from the crowd. Where The Go! Team had curated a definitive spirit amidst patrons and had supercharged the festival with a special kind of energy, Architecture In Helsinki continued their work, in particularly brilliant form also. As balloons richocheted to and from hands across the pit, the delightful "Yr Go To" ensued, its striking melody and waves of synthesiser gently caressing an audience only too happy to clap along. Even in playing some key fan favourites, their great imaginative flair came to the fore time and again, highlighting the terrific ingenuity in the band’s approach to pop music. "That Beep" seemingly scored the biggest reaction the festival had experienced, the tent igniting in a hearty singalong.

A masterful cover of Londonbeat’s "I've Been Thinking About You" would follow, the first song in a thrilling three part finale enough to demonstrate Architecture In Helsinki’s growing, and deserved,status. "Heart It Races" saw every line roared back to the band in epic unison, before "Contact High" became one of the definitive highlights of the festival. Not so long ago at Golden Plains, the single’s potential was just beginning to reveal itself. It would seem that "Contact High" has since exploded and Architecture In Helsinki’s ingenious pop is finally being paid its dues. A stunning, expertly executed performance from a local act not to be missed.

The Drums were lumped with the formidable task of following up one of the festival’s best sets. They would, for the most part, disappoint due to their insistence upon a coarse, indistinguishable rock output. Whilst they profess a welcome intensity in their performance, their intricacies congeal and degenerate into one messy, unpleasant whole. It was those sounds that somehow separated themselves from the pack, so to speak, that lent a hand in bringing forth the more successful moments. There were an array of piercing guitar hooks and delicate keys, breaking from the droning monotony. One of the most polarising aspects of the band must surely be this penchant of theirs for melodramatic wailing and moaning, courtesy of front-man Jonathon Pierce. More often than not, it proves tiresome and only works to clouding their sound further. "Let's Go Surfing" was the band’s biggest hit in their festival appearance, causing punters to suddenly rush from market stalls to join an awakened mob. It was their best song, but ultimately, a rare treat. Though their stage craft provides an entertaining spectacle, one can only assume you either get The Drums or you don’t. If you didn’t, this would have been a very long set indeed.

It was then Gotye’s turn to take to the Triple J stage, the artist becoming somewhat of an enigma since his acclaimed 2006 release Like Drawing Blood. We can now welcome him back with open arms, particularly given the terrific set he played as dusk fell upon the Bendigo showground's. "The Only Way" showcased De Backer’s intricate technological expertise, in a trend that would endure for the entire set. Gotye would carefully merge each critical element of his craft together to curate masterful compositions, each a faithful reprise of his debut album. In an intelligent move, Gotye offered a mixed bag of songs for the strangely subdued audience, including some new material. One such song from his forthcoming album State Of The Art, indulged in a slick reggae groove, De Backer’s robotic voice distortion making for an initially jarring departure from his typically beautiful delivery. Though surprising, this initial glimpse of Gotye’s new direction proved hypnotic, an elusive yet enticing experience on offer.

"Heart's A Mess" was given a soulful makeover with a touch of restraint. Transformed into a slow-burning gem, the song’s familiar splendours emerged delicately in one epic affair. It’s a shame that nobody seemed to care very much for the set, with only "Learnalilgivinanlovin" drawing a reaction - after all, Gotye became a superbly unique addition to the festival, providing a captivating, intriguing performance.

Perth’s Birds Of Tokyo were next, their standard alternative hard-rock offering met with much praise. Arguably, it’s just the sort of schlock you expect to hear on commercial radio, but to their credit, the ‘Birds' are good at what they do. Displaying an absorbing knack for melody, the band were successfully able to continue the evening's good form. "Silhouettic" injected the night with some impressively ferocious musicianship, their rock sensibilities bleeding into pop music as the band flew the flag for accessible radio rock. Though it was a set with hits and misses, it was undoubtedly conducted with great confidence and exuberance. At the end of the day, what more can you ask of a rock outfit?

The Wombats then appeared for their first festival of the year, opening with "Our Perfect Disease", an enthralling, emphatic indie rock venture. The UK trio were happy to explore an exciting blend of material past and present. The post-punk hit "Kill The Director" surging with razor sharp guitar stabs, frontman Matt Murphy declaring ‘This is no Bridget Jones!’, boasting a soaring, crystal-clear delivery. Their stomping rock anthem "Jump Into The Fog" emerged as one of their best songs, before the irresistible falsetto refrain of "Techno Fan" only raised the bar higher. Predictably, "Let’s Dance To Joy Division" saw feet lifting from the turf, fingers towards the skies as its bittersweet sentiments were spat forth from the inebriated masses. Overall, it’s hard to look past The Wombats charismatic brand of cynicism not only for its near-flawless execution, but because it’s irresistibly fun to begin with. They have honed their back-and-forth, genre straddling stratagem, exploring both elements of post-punk revival glory and shades of electro-rock to ensure a set frequently energetic and ultimately rousing.

There’s so much to say about Bliss N Eso. Contrary to the mindless adoration courtesy of the bewildering festival masses, however, the hip-hop outfit shall receive no kind words here. Opening with consecutive demands of Bendigo, requests for the hands in the air repeated with comical frequency, it almost immediately appeared that Bliss N Eso’s stage personas were founded upon suffocating cliche. As their set progressed, such suspicions were confirmed over and over again. To make matters worse, the band’s logo flicked upon the stage screen every five seconds, serving as both a patronising and unfortunate reminder that you’re being subjected to one of the least inspired acts of the festival.

Lyrically, Bliss N Eso are a waste of time- “I feel happy in my hoody on a Friday”. Such vacuous, inane content must surely position Rebecca Black’s much-loathed single Friday as poetic genius. It only went from bad to worse, a brief stint on the decks ensuring classics from the likes of The Bealtes and Pink Floyd were scratched to pieces, music prestige desecrated by mere folly. As expected, the obligatory ‘issues’ song would feature, the song momentarily disregarding the fact that we live in Australia and everything is actually pretty okay. "Let's make some noise for the state of Australian hip hop!" they encourage, their parting words somehow resonating well with the festival. One imagines the irony would, of course, be lost on most patrons.

Unfortunately, following the conclusion of Bliss N Eso’s set, hoards of punters abandoned the main stage and Cut Copy in favour of either heading home or catching Perth’s hip-hop singer Drapht at the Moolin Rouge tent. Those that stuck around for Cut Copy were treated to a passable performance, one below the pure resonant beauty offered at the Melbourne leg of Laneway earlier this year. The band excelled in exciting the crowd however, the pulsating "Lights And Music" causing a stir. The hypnotic jungle rhythm of "Take Me Over" proved similarly popular, before the entrancing "Pharaohs And Pyramids" cast a spell upon the pit with a methodial, workman-like approach defining the angst-ridden track. Displaying a great energy in the recreation of their professed electro-pop intricacies, Cut Copy succeeded in providing a more or less satisfying main event slot. One feels, however, that the shows of their headline tour may be a more rewarding experience.

For a festival charged with following two major heavyweights of the circuit in the Big Day Out and Laneway, Groovin The Moo really needed to bring its A-game. You may have noticed already, but that didn’t exactly happen here. Instead the event succumbed to a hit-and-miss tendency. Beyond the likes of The Go! Team and Architecture In Helsinki, Groovin The Moo 2011 frequently failed to provide much that truly impressed, nor any moment that may resonate as its defining memory for years to come. There’s a few kinks the organisers really need to iron out next time around, too. Overall, with these and many other concerns in mind - organisational, musical or otherwise - the event only receives a pass mark. Ultimately, Groovin The Moo is not without its charms, but it's certainly a B-grade festival by most standards.