The idea of the Manic Street Preachers as corporate Rock lizards, sipping sherry with Desmond Child, isn't really one which carries much credability. Not suprising, then, that they looked completely out of place, their Punk sensibilities lost on the Bon Jovi audience.

Far from letting things get them down, the Manics made the best of the suprisingly clear sound that greeted their arrival. 'Sleepflower' is a vicious and effective power opener. Now assisted by a keyboard player, kingpin James Dean Bradfield is fronting a far more cohesive unit than this time last year.

Richey James is as inaudible as ever, but cuts as impressive figure. His combination of poetry and Punk still provides his band with that essential factor 'X'. Slash 'N' Burn is dedicated to the US military aggression throughout the world, but the band themselves are fighting a losing battle with this particular audience. It was an interesing sideshow, little more.

It's a grave error to assume that the Little Angels are no more than a fresh-faced soft Rock effort, simply because they are called Little Angels, and no one in the band is exactly old. Today, the gathered thousands are putty in their hands.

From the roar that welcomes 'She's A Little Angel', it's clear which of the support bill most people are here to see. Despite Bruce John Dickinson's horrific new hairdo, he and his band give a virtuoso performance. They are high spirited, strikingly dressed, and precisely the injection of class that the day needed.

Assisted as ever by Messers Grant Kirkthorp and David Kemp (alias the Big Bad Horns), Little Angels create a vibrant and varied sound. Though Toby Jepson's one-man-and-his-guitar bit on the accoustic 'Sail Away' is almost drowned out by the arrival of helicopters backstage, songs with the groove of 'Too Much Too Young' and 'Young Gods' heat up an already excited crowd.

Unsuprisingly, Billy Idol has little chance of successfully following such a preformance. I'm impressed that he's still alive and still popular - but let's face it, since 'Rebel Yell' and 'White Wedding', our William has had little to sneer about.

Today, clad in bright orange and bosting his new mop-head look, Idol unleashes some incredable roars when the mood takes him, but it's always too little, too late. During 'LA Woman', he decides that the time is right to expose his buttocks. My cue to head for the beer tent...

As night falls on Milton Keynes, few would have believed that there was ever a time when the world did not belong to Bon Jovi. Jon Bon Jovi's Mom may well have been an excellent cook, but it's headlining festivals that is her son's speciality. Right here in the Bowl, there's ample food for the masses.

Bon Jovi perform with a ruch of inspiration amd a small amount of soul. 'Keep The Faith' and 'Bed Of Roses' are two particular highlights. Both sings shine for very different reasons, the common factor being the passion and integrity with which they are dispatched.

The likes of 'You Give Love A Bad Name', 'Born To Be My Baby' and the ever-spectacular 'Lay Your Hands On Me' are always gonna be welcome any time, anywhere. No one, not a Whitesnake nor a Def Leppard, nor an Aerosmith, can better Bon Jovi in theis type of situation. The magic they weave amongst the large crowd is one of deeper intimacy than most mega-stars can manage in a small club. More than anything, Bon Jovi are a people's band.

The covers, 'Shout' amd 'Jumpin' Jack Flash' are farmilar and welcome additions to the set. However, it's their a capella version of The Beatles 'Help' that wins them the most friends. With instruments laid down, the depth of this band's talent in the vocal department becomes clear. Richie Sambora especially sends shivers down the spine.

Uncharacterstically, they fail to make full use of the extensive walkways either side of the stange. Such lack of action prevented them from appearing to be as in-your-face as usual. You can't expect Tico Torres to take off on a hundred-yard dash, but Jon can usually be relied on.

It's a mere niggle. 'Livin' On A Prayer' erupts with syncronised rockets and flash bombs, and a tasteful version of 'I'll Be There For You' concludes the set. It is an affecting parting gesture at the end of a great day.

Steve Beebee, Kerrang!