With the November weather attempting to do its worst our third time at Le Guess Who? began in a low key fashion tonight. A return to the fantastic Jenskerk, to see the festival's opening act Hildur Gudnadottir perform her mix of cello and experimental pop, was the first stop. A fitting location for the ethereality of the music and one that pulled in a full-sized crowd.

Making use of a bike this year proved to be the wise move its always been touted as (although it does help to read your map correctly) so the trip to see Eric Chenaux in the Tivoli Vredenburg's Pandora hall took no time at all. Bringing to mind the work of Robert Wyatt with his warbling falsetto his was an interesting and warm start to the Constellation Records curated element of this year's festival.

Back to the Jenskerk for another packed-out show next. Last week's Paris horrors will obviously be in people's minds throughout this weekend (Eric Cheanaux had already mentioned the festival as providing a break from the tension there) and for this, the last night of her tour, Julia Holter's response was to put music to a poem by Karen Dalton. You could have heard a pin drop in the hush that marked its playing. 

Squeezing back out through the crowd and past the queue at the door it was back up the road to the Groete Zaal of the Tivoli for the first of tonight's major German acts. The Notwist have somehow missed out on major success in the UK (not that I expect they lose sleep over that) but it's bewildering why that is the case. Given their ability to write indie gems worthy of the likes of a rockier Teenage Fanclub as well as a raft of material that recalls (or even pre-dates) Wilco at the more experimental end of their own scale they should by rights have swept all before them. With their binary lights and pounding performance they'll just have to remain a favourite of those in the know for the time being.

Saltland were next on the list for us but upon climbing the stairs to Pandora we were met by the crowd streaming out some 12 minutes early by our reckoning. A quick look at the programme showed there was time to fit in the unknown The Homesick, part of the the Subbacultcha Presents slice of the festival, over at Ekko. They were tonight's revelatory act. Laddish post-punk from a Dutch trio clearly very at home in the live setting and going down a storm with the home crowd. Bags of energy and talent aplenty on display.

Majical Cloudz were the final act at the Jenskerk tonight. Whilst rather bizarrely not drawing in the same keen crowd as the earlier performers they managed to make far better use of the excellent acoustic properies of the ex-church than for whatever reason Julia Holter had been able to. Having it seemed arrived from Canada during the day Devon Welsh (bearing very fair comparison to David Byrne) apologised a number of times for having little in the way of chat but whether jetlagged or due to having other concerns on his mind his and Matthew Otto's performance was flawless. 'Are You Alone?', 'Heavy' and 'Childhood's End' all featured in the set and it's hard to think of a place where they could have come over any better.

Reconstituted krautrock pioneers Faust were next on the agenda. True to their roots there was a theatrical element in the shape of three knitting girls at the front of the stage. Beginning with a tribute to the victims in Paris and beyond theirs was a thunderous performance of a far more industrial nature than expected but one ideally suited to the cavernous space of the Groete Zaal. Managing to make a hurdy gurdy sound like an air raid siren & harbinger of doom was a particularly evocative part of their dramatic show.

A quick train ride up to the far flung DB's brought the first hiccup of the night as, due to timings seemingly being close to an hour out of kilter, The Great Communicators were not that far into their set rather than The Mysterons just getting ready to take to the stage. Vigorous and sweet-voiced indie from the Amsterdam/Hague quintet was a pleasure to take in nevertheless and they're undoubtedly not the only band appearing over the weekend who, if things go well, can enjoy wide appeal outwith Holland.

Given the train times the only option was to finish the night back in Pandora for a final dollop of Canadian entertainment in the shape of Ought. Live it turns out that frontman Tim Darcy's performance is a curious mix of Jarvis Cocker's sinuousness married to Mark E. Smith's vocal mannerisms, a combination that makes it hard to take your eyes off him. The floor of the hall was packed so they were keenly received by the vast majority of the crowd but for me there was something lacking in terms of the transition of the material from Sun Comes Down and its predecessors from recording to live. Maybe the balcony wasn't the best place to appreciate them from. Nevertheless it was well past the witching hour & so time to head off.

Saturday and Sunday at Incubate sees the festival expand to include a number of further venues playing host to free gigs. Of these the first to be visited was the Sounds record store, where Subbacultcha had lined up a good international bill. Torii prove to be both a very jangly prospect and one not afraid to let the space for a good solo go to waste. Melbourne's Terrible Truths were the last of the acts we caught here and their angular, B52s-like set was a hit with the small crowd and boded well for their main show later in the day. Next up came some immense instrumental rock from Groningen's North To The Night in the front window of Kim's Kroeg. These guys have an epic sound which would easily have worked well in the likes of Midi or Dudok so their half hour set was too short by half. Further time was available but maybe they had an appointment to keep elsewhere. Finally the small downstairs bar of Cafe Babbus hosted Bonne Aparte with their short and intense yet melodic songs. From their tight playing you'd never know they last played live in 2010.

With the weather now dry it was safe to have a look at what the outdoor stage at the Muzentuin had to offer. Basking in late afternoon sunshine and taking in the sunshiny rock of Cristobal And The Sea was the musical option if you weren't just after a coffee and a vegan burger. The crowd were well entertained by the personable group although whether the bass player would see midnight given his J&B consumption (and whether he should have advertised the flautist's newly single status) was debateable.

Another new venue got a short visit next as Jad Fair and Norman Blake were to play in Factorium (which could do with investing in plastic glasses for use in the auditorium). Unfortunately Blake's flight was cancelled so Fair was unleashed alone like a precocious child left to his own devices. The grounding his cohort would hopefully have brought was sorely missed so an early exit was made.

The sounds of Malian Tuaregs was next on the list, represented at Midi by Terakraft. Much as they set large numbers of the audience bouncing though there was a noticeable linearity to their sound with few hooks to make any one song stay long in the mind. Thoroughly nice blokes though.

Jaako Eino Kalevi was also laying out danceable moments back in Factorium. Augmented by a live drummer the icier elements of his recorded work were all but gone, inspiring a small crowd to leave their seats and take to the top of the stairs at the rear of the hall so as to be able to fully physically express how much the music was moving them. 

Blank Realm had just a couple of tracks left to play when we arrived after the short walk back in to see the at Cul De Sac. They were looking tired but happy so it had obviously been an energetic show, not least for the fact that it seems to involve a fair bit of instrument swapping (as well as the use of a keyboard guitar which isn't exactly a common sight these days). 'Dream Date' went over well at this time and they'd obviously been just that for those that had been there the whole time.

The habitual trip to Paradox finished off tonight and it must have enjoyed one of its largest crowds of the week as there was only a small amount of room at the side of the stage in which to squeeze into for the final parts of Fire!'s propulsive set. Appearing here in their original trio form their danceable avant-garde jazz (with a foray into nuts-in-a-vice concentration for some dial turning noise at one point) from the prolific Mats Gustaffson and his cohorts (last seen as part of The Thing a couple of years ago) this was a sweat-drenched performance of improvised and yet catchy music delivered at a deft pace & thundering volume and one of the best shows of the week.