Malini Awasthi, Chahat Mahmood Ali Qawwal, Pritt, Khiyo, Shahbaz Hussain showcased everything from traditional folk music, through to dance music with the Southbank’s security having to deal with partying Indian audience members. (Eventually, everyone else joined in and they gave up).

The New Music Biennial has apparently been running for a decade and this year’s event was a mixture of greatest hits and new commissions. The thing that sets the festival apart from other events is the format. Commissions are about 15 minutes long and are followed by a Q&A with the artists explaining their thoughts when composing the piece. The piece is then repeated so you can then hear it a fresh light.

As somebody who struggles to understand the complex imagery composers attempt to create with an orchestra, enjoying the music rather than ‘understanding it’. To hear what the composer intended offered me an opportunity to listen with a bit more of an instruction guide.

The first piece illustrated this perfectly. Urban Birds by Arlene Sierra featured three pianos arranged in a t-shape played by the pianists Xenia Pestova-Bennett, Sarah Nicolls and Eliza McCarthy who were accompanied by field recordings of various birds. My interpretation of what was happening in the music was completely wrong. Listening back after the explanation, I could hear what the composer was trying to achieve, giving me a completely fresh view of a piece I had only listened to 20 minutes earlier.

Next up was my highlight of the weekend, Gazelle Twin, who with composer Max de Wardener reworked ‘The Power and Glory’ from her album Pastoral, for a concert orchestra. Today accompanied by the BBC Concert Orchestra, we saw two powerful performances of the piece. Gazelle Twin isn’t somebody I have really got into. Her music is too electronic for me. But with a concert orchestra providing extra dynamics and Elizabeth’s beautiful voice. The piece was stunning.

The rest of the weekend was filled with little gems. Anna Meredith’s work for the human body – where the orchestra used their body as percussion and basically danced the piece was an unusual highlight. There were brass bands, electronic artists using tape, choirs and sea shanties. There was something for everyone and all free. Londoners are really spoiled.

Support tonight came from Gill Landry and Goodbye Chanel.

The DLM are Neil Hannon (Devine Comedy) and Thomas Walsh (Pugwash) and take their name from the mathematical methodology used to decide the targets for the chasing team in rain effected games. Their first album (I hope they do more) was a tongue-in-cheek whistle-stop tour of cricketing folklore and loosely coupled cricket related summer songs. It was one of my favourite albums from last year

Tonight’s gig was the first time they had played together for about 6 months, but it didn’t matter. Their live performances aren’t based on tight performances but are laid back performances, by friends and for friends. Tonight’s performance was no exception, with breaks for ‘tea’ and at one point ‘rain stopped play’ causing the band to stop and open the umbrellas.

With only one album to draw upon it meant DLM had to play it to completion. But with two frontmen who don’t take themselves too seriously who happily filled the time with light banter and anecdotes the night was thoroughly enjoyable. The highlight for me was ‘Jiggery Pokery’. With only one album they fell back on a rather small pool of cricket related songs and eventually playing songs from their album for the second time! But no one in the audience was complaining. The evening was finished off with a fantastic rendition of ‘Soul Limbo’ by Booker T and the MG’s, better known to cricket fans as BBC TV’s cricket theme tune