And that - due to an inconsiderate alteration in the running order of which nobody thought to inform anyone (least of all me), and which saw Arbez-Nicolas relegated to a ridiculously early slot - is when I and the many others who missed him will finally, if ever, get to see Vitalic perform: the far-off future.Instead, I get to see German boffin Headman - responsible for that marvellous funked-up remix of Franz Ferdinand's "Dark Of The Matinee" - graciously drop Erol Alkan's instrumental mix of Franz's "Do You Want To", as well as "You Gonna Want Me" by Tiga feat Jake Shears (out on Monday), the track which, hearing it over a mega sound system, I am utterly convinced is the dancefloor tune of 2005.Then it's time for Soulwax live. And it is live: the white shirts of the Dewaele brothers may be lit green by the glow from their iBooks, their bass and guitar may occasionally hang limp, but the drums are real and the keyboard riffs are plinked out manually. In the past I've noticed the abyss between 2 Many DJs' status as world-beating decks' demons and that of their day job, Soulwax, as unremarkable indie rock band. The Belgians' electrified, pulsating second album, Any Minute Now, went a long way towards rectifying that.In 2005, they've taken things further still. Any Minute Now has been completely remixed and re-released under the name Nite Versions (inspired by Duran Duran's pioneering, early Eighties 12-inch "Night Versions"). These already eminently danceable cuts have been souped up to include snatches of, say, Paul McCartney's "Temporary Secretary" or, most gloriously, Lipps Inc's "Funky Town" in "NY Excuse" (rebranded "NY Lipps").Iconoclasm, then, is part of the Dewaele's DNA (one track proclaims "James Brown is dead!"), yet so is iconography - their cover of Daft Punk's "Teachers" incorporates a list, ?a Mylo's "Destroy Rock & Roll", of Soulwax's musical heroes, from Steppenwolf to T Rex.The distinction between Soulwax the band and 2 Many DJs is more blurred than ever. Behind the decks, the Dewaeles spin a mixture of functional four-to-the-floor thudders leavened with mood-lifting anthems ("Pump Up The Jam" by Technotronic sends the place crazy).One of the brothers plays two snare beats - beats which are instantly familiar to anyone who loves music as the intro of a certain punkpop classic - and puts them on a repeat loop, twisting them inside-out using every effect available (reverb, flange, echo, phase) until finally he releases the suspense and lets it play.

It is, of course, "Teenage Kicks" by The Undertones.Why, I wonder, is this the only out-and-out rock tune of the night, and why does this one get the most extravagant build-up? I check the time, and it all makes sense. The clock has ticked past midnight; it's John Peel Day.s.price independent.co.uk. Child prodigy Concerto soloist Cross-over artist Baroque fiddle-player. Which is the real Viktoria Mullova? It would be misleading to call her a chameleon; the distinguishing characteristic of which is its ability to fade into the background. Certainly, Mullova's body-language is that of one who is desperate not to be noticed. But there is something so unyieldingly firm and bright about her sound and her bowing as to make her immune to changes of context, collaborator, or repertoire. Mullova may have gut strings on her instrument but she doesn't yet have a gut instinct for Vivaldi.

In her work with Giovanni Antonini and Il Giardino Armonico - as in her dish-water dinner jazz - she has mastered the idioms of a style without understanding their narrative function. Technically, Vivaldi is a cinch for a player of her facility. Musically, however, he is one of the subtlest and most demanding of composers. Thus, while admiring the tuning-fork purity of Mullova's double-stopping in the Concerto in C major (RV187), the BPM energy of her arpeggios in the Concerto for Four Violins and Cello (RV580), and the force-nine ferocity of her spiccato in the "Grosso Mogul" Concerto (RV208), I spent much of her Barbican concert with Il Giardino Armonico thinking wistfully of Fabio Biondi.