Rise Festival, Finsbury Park, 8 July 2006

Jazz virtuoso Roy Ayers couldn’t have timed his set more perfectly. The sun had just broken from behind the clouds as he launched into his mellifluous “Everybody Loves the Sunshine” to a warm Rise festival crowd.

Looking dandy in a white jacket and trilby, if rather incongruous orange stripe tracksuit bottoms, the 65-year old proved he wasn’t going to be outshone by a five minute vivacious solo by his drummer. He danced around shaking his vibraphone sticks to confirm he was still the great showman he’s always been.

“You have been so good to me over these years. And I think I have been good to you too,” Ayers said bashfully at the climax of his set. Oh yes, Mr Ayers, indeed you have.

Rise was the largest free anti-racist music festival in Europe. Londoners stood together against discrimination and prejudice and witnessed some fervent political speeches from London Mayor Ken Livingstone, who told us that he welcomed asylum seekers, to a Trade Union Council spokeswoman, who demanded we reject what she called the “British National Plonker Party”.

But it was the diverse music, comedy and dance on seven stages that seemed to unite the crowd the most. And we were able to indulge in some great food and drink too.

On the main stage, ex blur guitarist Graham Coxon appeared to be going for a Samuel L Jackson look in a back-to-front black Kangol-style hat. A lot of people around me asked who he was and when they found out, questioned if he’d perform any hits from Parklife. But new songs like “Standing on my own again” confirmed the guitar prowess he had brought to his former band. He played an effervescent set of solo material and gained a few new fans along the way.

Buzzcocks were looking noticeably balder and tubbier than in their heyday but the old guys played with gusto to prove they could still rock. Rumbustious punk kids as young as 10 crowd surfed to the front showing hits like “Ever Fallen in Love” are as relevant now as they were in their 70s prime.

Bob Marley’s old band the Wailers were a perfect end to an eclectic day of music. Aston "Family Man" Barrett led the vocals in a set comprising Bob Marley’s greatest hits. As they broke into “Stir it up”, the crowd began hip shaking in unison. The whole audience sang along in adulation to sublime “No Woman No Cry” and “Redemption Song”.

Exodus was an apt ending to encourage the crowd to make their way home trouble-free as we were told not a single arrest had been made at the festival so far that day. People’s creed, race and colour of face became irrelevant. Londoners had been united, immersed in a great day of music.