After months of hiding a seriously impatient attitude, the Big Day Out has gracefully returned to the Gold Coast with another heavyweight line-up to boast. While the annual summer roadshow dips deep into the buck of variety each year, the general consensus was that 2011 may be just one of the best.

Swiftly cutting the something-thousand-plus line outside, in what could be claimed as ‘an arse sweating heat wave’, summer may be late – but it surely has hit Queensland hard. Upon entry, after a quick prowl of the vicinity, it was obvious that the punters inside really make you appreciate this great land. If you’re not perving on the most beautiful bronzed bodies bounce, you’re watching a gym-junkie catch a fiver off a smiling seccie. It is then that you notice, we all share the same interest. And while in the best environment possible, we all are one. One with each other, one with our surroundings and one with the music. How on earth can this not be bliss?

Sure your wallet may be drained by day’s end, your skin might resemble that of a red leather handbag and a few bones may be broken, but all is forgiven within a heartbeat. If it’s not the leg cramps from lengthy travels between headline clashes, the ringing ears from a tone-deaf screaming fan or even the burnt lip from an overcooked and overpriced handful of chips, it is these simple pleasures from a summer festival that cannot be beaten.

Double taking after catching a brief glance of a few wet white t-shirted honeys sensually dance to Little Red, it was off to catch the energetic and powerful future of Australian rock. Understandably this is in reference to Children Collide, and by golly gosh, what a way to start a day. Screaming through a set of hits including monster chart-toper Social Currency and Jellylegs, it was riot starter Arrows that truly justified just why this is the next biggest thing to come out of Australia since Hugh Jackman.

Several broken guitar strings later, it was off to the almighty infamous Boiler Room to check out Aussie hero Sampology. With minimal treble, it was evident that the bass dial on the decks were permanently switched to ‘insanity’. Helping the crowd fill their pants, and lose their minds, the Brisbane boy scratched and spinned his way around the early ravers inside the massive tent.

Next up, inside the tent hidden away on the opposite side of the grounds, the self-proclaimed party starter and official BDO 2011 ambassador Andrew WK storms the stage with one purpose – to party. Looking more like a heavy metal cover band, the long haired bearded rockers blast out happy rock with raw power, as it echos around the venue with ease.

Welcomed on stage by the beautiful and slowly undressing Sheri, the hyper-energetic Andrew WK treated the crowd to a handful of pure party anthems such as She Is Beautiful and We Want Fun. Fist pumping included, this was perhaps one of the happiest moshs ever witnessed. He came here to party, he left here with one killer hangover.

As most festivals do, the inevitable abundance of clashes proved great annoyance and chaos. In hopes of catching at least a snippet of Lupe Fiasco work his artistic magic, the faint sounds of The Show Goes On rung out throughout Parklands. Bouncing from the Boiler Room to mainstage this year, where he had no trouble creating an electric atmosphere, Lupe must have easily justified why he is a superstar.

One of the more obscure choices in recent years, with such great hype behind them, would be none other than South Africa’s own Die Antwoord. Letting slip that they would jump on the tour mid-last year, the three very peculiar and strange individuals captured the hearts and ears of the Australian public, often for the wrong reasons.

However, working the crowd into a dancing frenzy, this unbelievable performance surely stunned more than a handful. As one of the more anticipated acts, the Boiler Room was unbearable. With minimal room, the heaving crowd feared the worst. What followed was nothing short of life-changing. With inflatable penises, breasts exposed and a handful of rather rude South African slang thrown around, music such as Enter The Ninja, Beat Boy and Evil Boy were almost overshadowed by perhaps the performance of their lives. Watching the three slink offstage made me realise a few things: Now I can swear in Afrikaans, and a shower would go great about now.

Onto something completely different, entering the wired yet wonderful land of Lilyworld, the ever happy and bubbly New York indie dance duo Matt and Kim explode in a fit of joy. Well deserving a spot on a bigger stage, the pair fly through a fast paced, lively round of toe-tapping tunes with some sweet surprises in-between.

When Matt wasn’t climbing structural scaffolding or Kym wasn’t discussing her private parts, audience participation in form of choir and balloon blowing/throwing helped songs Lessons Learned, Yea Yea and Daylight reach greater heights. And what’s a performance without a stage dive and a few hugs and kisses afterwards? You gotta respect an artist who gives back; it’s a true rarity.

Bob Rifo and his boys have once again bought The Boody Beetroots Death Crew 77 back to our shores for another stellar show. Reminiscent of the Ting Tings a few years back, Death Crew inside the Boiler Room was perhaps not the wisest of choices. With easily tens of thousand_ in attendance, the communal sweat fest and riot that followed would have only fuelled the mental mask-wearers.

The Church Of Noise welcomed not just Beetroots tracks but other club bangers into the mix. Sampling Entienne De Crecy, The Refused and Clint Mansell, all music was performed live – drum kit, guitars, keyboards and all. Baffling the minds of many, the masked madmen continued their onslaught well into the setting sun with thumping tracks Warp and Cornelius. With another EP due in April/May, there simply is no way stopping these musical work horses.

The international contingent continued to burst at the seams this year, with German industrial kings Rammstein returning exactly a decade after their last BDO appearance. Making just as much noise, with just as much fire, the sadistic and aggressive attitudes streamed offstage into the crowd, creating one hell of a situation. Barely understanding what is being sung, to witness a grown man growl and scream with a smile is one horrific experience. Watching a main stage be set alight, we no place to hide, may be one of the most memorable experiences ever. Watching hundreds perform over several years, the art of engulfing an entire stage with fire, while the band wear flame-thrower masks while spitting a wave of blaze into the sky, could be the one that tops the cake.

Over six months ago, we were told that James Murphy and his clan would close shop for good after Splendour. And now, one of the final acts of the day, LCD Soundsystem look as if they would rather kick on than call it quits. Bringing the entire band back for one more hurrah, Australians were treated to a parade of bouncy numbers and a vibrant onstage performance. Running a-muck as the brilliant maniac he is, favourites Daft Punk Is Playing At My House, Drunk Girls, I Can Change and All My Friends saw the Boiler Room join hands, vocal chords, and get crunk to the styles of this New York masterpiece.

Dragging more people onstage than humanly possible, the irresistible ranga-lover that is M.I.A is back and stronger than ever. Dominating the Boiler Room as the final act of the day, promoting her latest album, most of the festival crammed under the great tent to catch a glimpse. Fresh from a strong of controversies, M.I.A wowed her fans and lovers with not just her music but performance as well. Rocking a glow in the dark jacket, destroying several microphones and digitally adding sound bites to each track, the star seemed to spend most of her stage time either in the audience or on the speakers.

Making the life of a security guard that much harder, an uncountable number of guests joined the star on stage several times throughout her performance to add to the lunacy of an M.I.A show. After an outstanding rendition of Paper Planes, enough was enough – it was time to dart outside and attempt to catch a lift home.

Currently the nation’s premier festival, and continuing to increase and grow every year with bigger and better acts, the Big Day Out shows the rest how it’s done with ease.