For the last 12 years Womad has basked in baking sunshine and this year is no exception.
Walking by the Thams the scenes begin to look like a 21st Century update of Monet's 'Dejeuner sur L'Herbe' - except people are dressed more modestly here.
This will soon change, as bare chests and swimming trunks become the norm.
Not that there is a norm at Womad.
Womad fashion ranges from a fishnet stocking wearing Marilyn Manson look-a-like, to a large blue fairy, ethnic-paisley print 'earth mothers' and one silver-haired, bouffant topped woman, who looks as if she's on her way to have tea with the Queen.
Womad has a target audience of 16-65 year-olds and the music policy is as diverse as the people it attracts.
On occasions it can be stupefying, happily accommodating Bulgarian folk singing next to African Soukous, or Brazilian Samba and US hip hop sandwiched around English post punk
But it's this very communication that Womad aims to encourage in its founding principles - taking its cue from the cross cultural pollination that created most of the music being played here today.
On Friday night Ozomatli (see review below) dominate proceedings, setting a standard for both music and audience participation that remains unchallenged for the rest of the weekend (leaving aside the possible exception of Ernest Ranglin's equally well received Saturday night performance).
Perhaps the strangest piece of billing of the event comes from Tony Allen, drummer for the late great Fela Kuti, who has been brought in to do a PA at the shrine (where TY is MCing to Rita Ray and Max Rhinehardt's DJing).
It's a very small part for a big character to play, but nonetheless TY and Tony provide an adequate performance of their recent collaboration, 'Woman To Man', and bring the first night's entertainment to a close to the sound of a lone African drum.
