Festival review: Primavera

There's a game one can play in Glasgow called indie bingo. Such is the abundance of music-makers in the city that a trip to caf/bar Mono on any given day will usually produce a sighting of a line's worth of indie band members. Go to a Yummy Fur gig at Nice N Sleazy and you're on for a full house.

It's a curiouser experience being able to play the same game in Barcelona, but proving equally as easy. The Primavera Sound Festival 2011, now in its 11th year, has grown from a small eclectic gathering to a major player. Despite heavy sponsorship and tie-ins it maintains the feel of an independent and un-corporate affair, mainly due to its leftfield music policy, and there has always been a large Scottish musical influence. Teenage Fanclub, The Vaselines, Sons & Daughters, Arab Strap and The Delgados are just a few of those who have graced previous festivals; this year's featured Belle and Sebastian, Mogwai and BMX Bandits performing high up among the 220 other acts.

A swelling group of loyal fans from Scotland, and particularly Glasgow, make the journey every year. Encouraged by the presence of Glasgow indie popsters, those who have been once decide to do it again, and the word spreads. Something about Primavera is reason enough to ignore the many festivals on our doorstep, spend a month's wages in a week and endure day-long journeys.

There's an effortless sophistication and style about Primavera that is harder to find at home. A tiny police presence and an absence of security heavies add to a relaxed atmosphere, where people are trusted to behave themselves. It's the whole package which appeals, as a visit to Primavera is also a visit to a Catalan way of doing things.

The main part of the festival takes place over three days at the city's Parc Del Forum location, a mass of concrete and terracing on the east of the city which overlooks the Mediterranean, about an hour's stroll along the beach front or a ten-minute journey on the superbly efficient Metro system. Flanking these days are the opening and closing parties at the preserved village of Poble Espanya on Montjuic, the spectacular previous site for Primavera, before it outgrew the capacity. There are also a stream of free city gigs including shows in parks and subway stations and Minimusica, an interactive live music event for families.

The main event at the Forum sees bands starting at 5pm with the final acts on at 5am, which coincides with the Metro system opening for the day. At first it seems astonishing, but one quickly adjusts to this nocturnal pattern that still allows plenty of time to indulge in the treats of the city. As there is no campsite, the favoured option is to stay in apartments, so the festival-goer is immersed in the Barcelona lifestyle, which is no bad thing: great coffee, fine foods, a visit to see some Gaud or a trip to the beach – all of this before the raison d'tre of the trip.

Add in one other key factor – pretty much guaranteed good weather – and you can see the appeal to us from over this way. The atmosphere is clearly infectious for the bands too. As Grinderman reached the climax of their colossal main stage set Nick Cave implored – nay, ordered – us to go see Suicide at another stage instead of listening to Grinderman's last song.

When Jarvis Cocker acknowledged the plight of the 99 injured protesters from the peaceful demonstration in Placa De Catalunya the same evening, as Pulp performed live for the first time in nearly ten years, he dedicated Common People to them and the crowd erupted. Wayne Coyne, the exuberant frontman of The Flaming Lips, declared: "This is one of the greatest festivals we've ever had. It was great for us just to be in the audience."

And sure enough, the festival offers attendees a chance to stumble across new and exciting bands and artists, which reminds me of how the Edinburgh Fringe was before prices rocketed and high-profile comedy acts began to dominate.