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I saw this tour in Hove back in pre-pandemic 2019 and it was superb – even if he couldn’t reach the top notes of old, his voice has aged in an interesting and potent way, adding a bit more richness to his mid-range. That set had some side quests into album tracks – I expect this setlist to be tweaked so it’s just pure balls-to-the-wall hits.
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Dressed in a gold suit and rose-tinted glasses – all the better to look at the past with – Pinball Wizard is his opener, climaxing with a guitar solo vying with a flurry of noisy congas. As maximalist as you’d expect.
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Other stage, 7.45pm
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I’d be tempted to rechristen the Conflict on Medication because the Conflict on Wildlife, as a result of the heady increase of their impossibly loud sound combine is the one factor that absolutely scares away the menacing cloud of seagulls who’ve been feasting on the Different stage, emboldened to dive decrease by the weekend’s glut of half-discarded quick meals. My chips might have been pinched earlier than I used to be absolutely prepared, however the rousing Oceans of Darkness rapidly distracts from my disappointment, sending fists pumping into the cursed air.
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The band are halfway via a wonderful summer time of outdoorsy headliner exhibits at Halifax Piece Corridor and Trinity Faculty Dublin, in addition to a romp throughout the festivals of the US, and their muscular model of heartland rock is a knapsack that travels effectively. You recognize what you’re getting, and the guitars specifically all the time sound good – effectively oiled from years of touring and collaborating proper throughout the indie rock sphere. The gang isn’t enormous, barely reaching again so far as the sound desk, however those that are into it appear actually into it. They comply with the cues of refined tempo adjustments: flares and rabble-rousing for the upbeat Pink Eyes; a pared again sway for I Don’t Wanna Wait, a honest ballad that twinkles with 80s synths.
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With the solar starting to fade behind us, the entire thing ought to really feel like cinema, a transcendent soundtrack to a highway journey via desert states. At instances, it does will get fairly shut. However so as to channel full essential character power at a present like this, you want to have the ability to join extra with the lyrics. Anybody who isn’t word-for-word acquainted right here would battle to decipher Adam Granduciel’s husky-toned supply due to his tendency to murmur the ends of his phrases. You get tiny snatches of intriguing craving – “I’m a sufferer of my very own want”; “I’ve been hiding so lengthy”, “It’s so laborious findin’ associates lately” – however they’re usually whipped away by the wind or drowned out by sax, lacking their ultimate illustrative flourish.
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One lady close to the place I’m stood leaves the group to lie down for a nap close by. Whereas I don’t perceive her tolerance for quantity, I need to say I perceive the impulse. The Conflict on Medication’ set is musically virtuosic, daring, and in the end fairly lovely, however a wash of sound higher loved at a delicate distance.
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Pyramid Stage, 7pm
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When you have a discography like Blondie’s, you don’t want to fret an excessive amount of about something however taking part in the hits. However in the event you’re coming to the Pyramid with solely a handful of songs that almost all Brits know, you’re minded to placed on a giant manufacturing to assist wow that vast crowd and carry them together with you. Lorde did this final 12 months along with her wondrous stage set; now, Lil Nas X arrives with by far the 12 months’s most batshit and epic present on the Pyramid.
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In entrance of an unlimited tableau of Hepworth-y sculptural varieties, male dancers with enormously lengthy plaits hurl their hair round as a thrash-metal association of Name Me By Your Title begins up. Lil Nas X is resplendent in white fur, gold breastplate and tassled (yassled?) chaps. An enormous serpent is paraded throughout the stage, to be succeeded later by different legendary beasts together with a puppet crane and a minotaur along with his deal with very a lot on show.
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For Outdated City Street, Nas rides in on a large horse and his dancers drape themselves round it in fetchingly sexualised preparations. Presumably deciding that his ostentatious outfit is simply too conservative, he returns in a glittery blue loincloth, blue furry boots and matching kneepads. Quickly he’s pashing considered one of his dancers. The stage ground is steadily thrust upon. Someplace, a deeply repressed Conservative MP is drafting a tweet about how our youngsters aren’t protected.
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Nas’s dancers admirably maintain the fort whereas he will get modified, flipping like Olympic gymnasts at a ballroom face-off to a soundtrack of lure, reggaeton and Rihanna. It’s not simply the visuals that broaden the attraction. Snatches of hits reminiscent of Nirvana’s One thing within the Manner, Michael Jackson’s Beat It and Ginuwine’s Pony are threaded into the preparations to maintain the group on aspect. Whereas these are deftly executed, in fact his songs are robust sufficient to not essentially want them. That’s What I Need is especially good, the purity and absolute want in his want for real love expressed in such an open-hearted, emotionally accessible melody.
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He closes out on an excellent greater excessive: the horn fanfare of Trade Child. Whereas visitor rapper Jack Harlow doesn’t actually get to make an impression, hampered by a barely dodgy mic and short-form verse, we’re all distracted by the dancers, who are actually dressed as electrical blue majorettes – and naturally Nas, his voice hovering on the climax. This will need to have been probably the most brazenly, ostentatiously queer present ever staged on the Pyramid, however for all of the pearl-clutching that Lil Nas X induces on-line, within the crowd, everybody from households to chiselled homosexual males to lairy lads simply get on with having fun with the sheer joie de vivre of this massively endearing performer.
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Pyramid stage, 5pm
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“A robust performance of the superb Dev Hynes co-write Long Time shows that their later tunes can match their classics, but it’s Heart of Glass that has this gigantic Pyramid crowd waving in unison – a truly awesome sight. By now Harry is dressed in a cowl made from shards of mirror, like a comic-book soothsayer stalking the mean streets of the Lower East Side. As she mellifluously sang earlier on, at age 77 she’s clearly not the kind of girl to give up just like that.” Full review:
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West Holts, 5pm
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It’s never dull on West Holts. Straight after the South London jazz fusion of Speakers Corner Quartet, we’re served up a substantial slab of Mongolian folk metal. The Hu are an Ulaanbaatar-based eight-piece – some of them in ceremonial dress, some in leather dusters – who play a mixture of modern and traditional instruments, guitars rubbing up against tovshuur horsehead fiddles. Their songs follow suit, resembling Black Album-era Metallica if James Hetfield had more of a penchant for Tuvan throat singing.
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Mongolia has a robust rock scene, with bands exploring everything from garage psych to black metal. But The Hu are the rare band to have broken through internationally, attracting hundreds of millions of views of their videos and collaborating with Papa Roach and Halestorm. You suspect that has much to do with The Hu’s willingness to play up their heritage: the war cries and songs about Genghis Khan surely go down well with audiences familiar with only that surface-deep idea of Mongolia. It would be instructive to know just how they are viewed by other bands in the Mongolian music scene.
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That’s not an issue for the here and now, though. At West Holts the crowd are thrilled by those deep riffs and deep Mongolian ululations. At times, when the riffs go from sludgy to galloping, with those bowed instruments screaming over the top they could almost be mistaken for the Dropkick Murphys. The riffs do tend to repeat themselves after a while but no matter: there’s always something to be engaged by here. It ends as the best metal concerts do: with a massive moshpit, something that tends to transcend race or nationality.
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Other Stage, 6pm
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Clad in a neon smiley three-piece that completely screams Glastonbury raver, Becky Hill is making no bones concerning the specialness of her 11-year journey “to get to this actual place”: which means not simply the Different stage, but in addition her station as present reigning queen of chart-friendly dance. She throws out a plethora of Ibiza hun bops: Overdrive is a belter, whereas Identical Outdated Story has some nice dancers voguing, renaissance-style, in glittering silver. “I went to Arcadia to see Chemical Brothers, and now I absolutely get this place,” she says. “I’ll be coming again now so long as I can. Hopefully working, if I don’t screw this up.”
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Illustrating the rising respect in direction of her style, she’s introduced alongside the Heritage Orchestra, ensuring that their contributions to the canon of dance, home and digital music are well-known. A win for Becky, it seems, is a win for the entire group, and there’s one thing very endearing concerning the degree of thought she’s put into this event: a profession bucket-list merchandise ticked.
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Park stage, 4pm
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“None of you hippies better be sitting down out there … I know it’s 4.30, but this is your last chance to have fun, unless you want to see Elton John choke on a prawn … ”
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The prawn is somewhat inexplicable, but this kind of surrealist specificity is what Viagra Boys do well. With singer Sebastian Murphy introducing them tonight as “Scandinavia’s worst band”, they approach the art of dance-post-punk with vim and vigour, lacking in the kind of self-seriousness that has sometimes held similar-sounding bands back.
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Ain’t No Thief, Slow Learner and Punk Rock Loser are kitsch in their bawdiness, driving grooves that mimic the glory years of Skins parties and indie discos, but with a steelier political edge. With 2022 album Cave World taking on broad themes of pandemic-era vaccine hesitancy and conspiracy theory, they dedicate Troglodyte to “the fucking right wing, fucking everything up”, drawing enormous cheers. With a ch-ch-ch-ch hook that echoes that of My Sharona, it ignites the masses and everything from here in on is an easy win.
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Sports activities continues to be their finest identified banger – chanting via the mundanities of chest-puffed poisonous masculinity as Murphy delivers illustrative wheezing press ups – however they shut on a model of Analysis Chemical substances which rapidly turns so feral that half the band are within the crowd, a dustbowl cloud varieties from all of the dancing, and one explicit lad down the entrance begins throwing his personal toddler excessive within the air, well being and security protocols be damned. As chants of “yet another tune, yet another tune” are bellowed however in the end not met, the power is, fairly frankly, insatiable.
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Alexis Petridis’s review of Yusuf/Cat Stevens’ ‘Sunday legend’ performance is in, and he found it quite the tonic …
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West Holts, 4pm
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For an hour or so this afternoon the West Holts stage is transformed into the dimly lit bar in Brixton where Speakers Corner Quartet hold court, inviting jazz, soul and spoken word artists to follow them down the rabbit hole. The quartet’s debut album, 17 years in the making, is followed here by a victory lap performance where many of their long term collaborators – Tirzah, Shabaka Hutchings, Kae Tempest, Joe-Armon Jones – make an appearance in an unceasing conveyor belt of British talent.
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Befitting this assemblage of characters is a wildly varied set, each song generously deferring to the characteristics of its collaborator. Hutchings’ propulsive free jazz saxophone is backed by a swirling, hypnotic composition, while Tirzah’s unconventionally accented, whispered alt-soul vocals are given a delicate, respectful backing and Coby Sey’s barked spoken word is supported by a doomy repeated riff.
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But it’s the track featuring Tempest, Geronimo Blues, that truly spellbinds, the swirl of strings and flutes building alongside the rise and fall of their stirring spoken word pronouncements. Afterwards Tempest, in a rousing speech, underlined the importance of music and community in fractious times. Speakers Corner Quartet are surely proof of that.
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Acoustic stage, 4.10pm
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Fresh from their popular pandemic covers series, husband-and-wife duo Toyah Willcox and Robert Fripp appear on the misleadingly named Acoustic stage for a set of songs by artists that either the pop star or the King Crimson guitarist have worked with. Willcox, 65 and lithe in a glossy red catsuit, beckons their six-piece, besuited band (with Fripp front and center) to open with a fiery version of her hit Thunder in the Mountains. “We thought we were in the heavy metal tent, I’m really sorry,” she says afterwards, before shouting out her Birmingham hometown and fellow Brummies Black Sabbath. “This is our acoustic version,” she jokes of the next track, jerking and twisting her body as the band launch into a pummelling, and very much electric, rendition of Paranoid.
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The set is unambiguously geared towards members of their generation, with rock sing-a-long standards paired with entreaties to remember one’s first detention or first kiss. Often Willcox plays up to her rock-chick status, making explicit her own active sex life. “I’ve been married to this hunk for 37 years; in fact he’s 77’ years of pure rock sex,” she says of Fripp, who is in headphones, seated on a black block beside her, with a tablet presumably displaying his guitar tablature. He smiles benignly. “Now going to the other side of the spectrum, let’s go to my pop career.”
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She flings herself into Martha and the Muffins’ Echo Beach, and the mostly pentagenarian or over crowd ramp up from swaying hips to appreciative bobs, holding aloft phones in card-wallet cases. It is swiftly followed by her own It’s a Mystery, which she heralds as having soundtracked everything from detentions to conceptions. “Oh my God, this man is so cool,” gushes Willcox again of her impassive husband. “And I made him breakfast this morning. I’m so glad I slept with a guitarist!” The gusto and energy of her performance unsettlingly contrast the brisk and functional band, like she’s hogging the mic at karaoke for rock hits from Metallica to Neil Young – but the crowd reciprocate her energy with equal enthusiasm.
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Woodsies, 3.30pm
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Buzzy TikTok-famous singer-songwriter Cat Burns has a pretty fanatical young fanbase, but it doesn’t look like much of it is here for her heartfelt bedroom-pop songs today. There’s a decent-sized crowd but you can hear them chattering over her sparse, emotive guitar and emotionally naked lyrics. She sings about young-people stuff – breakups of all kinds from toxic to healthy, romantic to friendship; jealousy; mental health; finding yourself – in a way that is universally relatable but oddly non-specific.
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Halfway through the set she does a cover medley of Ed Sheeran’s A Team and Justin Bieber’s Love Yourself, which makes me feel 1,000 years old. She channels those artists a bit on a new song about “not being chosen”, and suddenly we get a much bigger sound from her: “I’m entering my pop-rock era,” she tells us. “Just once every so often, when I’m feeling a bit different.”
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She’s super confident up there in a slouchy blazer with rolled-up sleeves and shorts, chatting breezily, totally unfazed by the occasion. People Pleaser is an easy clappable singalong; Love More serves up anthemic if bland positivity (“If there’s something you want to do, just do it – don’t let your head stop your heart from moving”); and her giant slow-burn hit Go closes the set. Only now, for these final songs, do the audience feel truly enthused. “Four years ago I was busking on the South Bank, singing for my supper, and now I’m here,” she says. She seems determined to go further.
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West Holts, 2pm
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It’s testament to the originality, musicianship and emotional wallop of Black Country, New Road that they can draw a crowd this big for a set of what is essentially long-form prog-folk songs, without any of the tracks that made them famous.
They play the whole of the set that features in their recent live album Live at Bush Hall, plus a couple of new songs: one a rather meandering one helmed by Georgia Ellery (also of Jockstrap) singing and playing mandolin, the other absolutely terrific, based around a fiendishly intricate and beautiful melody and a vocal from bassist Tyler Hyde.
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In the wake of vocalist Isaac Wood leaving, the singing is split between four members and each has their appeal – but it’s Hyde who has the most affecting moments. On this new song she creates the sense of coming to terms with something in real time, while on Laughing Song she sings “I have accepted that no one else will make me laugh like that”, adding a crushed little “ever again” after the band has gone silent. The weather broods and fusses, unsure of whether to rain.
Dressed in the manner of every generation of art student – clothes so rejected and uncool that they go round the other side and become cool again – the band has some hideous ties and three-quarter length shorts on display here. There’s also a lovely sense of camaraderie as four of them huddle together, hug and chat while Ellery and pianist-vocalist May Kershaw perform pristine ballad Turbines/Pigs.
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It’s also wonderful to see them moving around masterfully between vocal duties and instruments: drummer Charlie Wayne picks up a banjo, say, while singer Lewis Evans toggles between sax and flute. Songs will drift or waltz around before ramping into crescendoes, some of them violently intense. Dancers ends with Wayne screaming down his mic, and he gives Turbines/Pigs a pummelling climax totally at odds with the delicacy of Kershaw and Ellery’s earlier passages, while I Won’t Always Love You goes almost math-rock in its colliding banks of noise. There’s room, though, for some traditional festival fist-pumping on Across the Pond Friend. The large audience – who have been almost silent during the quietest moments, amazing for a crowd of this size – seem totally beguiled by this singular band.
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Pyramid stage, 1.30pm
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The Chicks (FKA the Dixie Chicks) filled my own personal legends slot, no disrespect to Blondie. They haven’t played the UK since 2016 and had to delay the tour for their 2020 comeback album Gaslighter for obvious reasons. During that time they’ve also been reclaimed by a generation who were kids in 2003 when the band were blacklisted and pilloried by the US country industry, and had protestors burning their CDs outside their shows, after singer Natalie Maines said the Texan trio were ashamed to be from the same state as George W Bush following the invasion of Iraq. Beyoncé invited them to perform her song Daddy Lessons live at the Country Music awards in 2016, and in-demand pop whisperer Jack Antonoff produced their brilliant comeback record, which assessed Maines’s divorce in cutting detail. In hindsight, that blacklisting was evidently nothing other than rank misogyny by an industry keen to cut some exceedingly powerful women off at the knees – before they come on, the compere reminds us they’re the biggest-selling all-women band ever – and the Chicks’ return to their rightful stature validates the message that courses through their music about women’s righteous (and often deliciously vengeful) pursuit of freedom.
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Maines and sisters Emily Strayer on banjo and Martie Maguire on fiddle completely blaze on with Sin Wagon (“He pushed me round / Now I’m drawin’ the road”), a baller, blaring exercise that blows your hair again and shakes out the Sunday cobwebs. It’s an epic in 5 minutes, the trio backed by a crack six-piece band who floor them in order that their radiant vocal harmonies and complicated musicianship can fly. On this warmth, you’d move out in the event you saved taking part in at that tempo, they usually cool the tempo for the poppy Gaslighter, considered one of a number of photographs at Maines’ ex-husband delivered with tartness and no small enduring quantity of rage: “Boy, I do know precisely what you probably did on my boat,” she sasses, a element that’s solely extra scrumptious when you recognize that she gave him the boat as a gift … and it’s known as the Natalie Maines. (The tune has a wider resonance, too: one lady close to us waves a do-it-yourself banner that reads “Rishi Sunak is a gaslighter.”)
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It’s important to be a phenomenally tight unit to be this versatile, and the Chicks’ wistful older songs – Large Open Areas, Cowboy Take Me Away, each eager for alternative of various sorts – sound beautiful, prompting mass singalongs. And the group is impressively enormous, given the UK’s lengthy antipathy in direction of nation music.
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The top of the set skews spikier: Tights on My Boat is one other comedian shot at Maines’ ex that comes with visuals of a unadorned Putin using a unicorn; White Trash Marriage ceremony is a ferocious hootenanny; and their cowl of Daddy Classes is a cool flex, backed by intimate visuals of the band rehearsing the tune with Beyoncé.
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The closing run threatens to undersell the Chicks’ innate energy by being over literal. For Delight month, they cowl Dolly Parton and Miley Cyrus’s Rainbowland – a pleasant gesture however a horrible monitor. March March works higher reside than on document, the place it’s a well-meaning however all-purpose protest tune; reside, there are highly effective visuals of historic freedom fighters, at one level overlaid by the names of lots of of Black individuals killed by police, and the efficiency is all the higher for the way sombrely the group play it. Extra hanging is the winking subtext in going from the flagrantly political March March to Not Able to Make Good, their unique refusal to apologise for the Bush fallout. Rain clouds shut in in a single day, accentuating its message of wounded satisfaction. The message is evident: you’ll be able to’t hold the Chicks down. Their closing tune, the gleefully taunting Goodbye Earl – a couple of lady killing her dishonest husband by poisoning his beans – suggests you’d be very foolish to strive.
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Woodsies, 12.30pm
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All across the weekend, mysterious stickers have been appearing in the longdrops, promising the rather iconic pairing of CMAT and BRITNEY SPEARS. Spears does not actually show up (maybe she’s saving it for Elton, as is the rumour on site), but it’s solid promo for an impressive showcase of the Irish singer’s playful humour and hearty affection for a cowboy motif.
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While her music is entirely different to that of Self Esteem, there’s a similar feeling of communal giddiness in the tent as there was for Rebecca Taylor’s set in here last year: working-class guys, gals and non-binary pals who are thrilled to have found an artist who properly feels like one of them, revelling in all the same pop culture references and self-deprecation. “I’ve been here since Tuesday! And I don’t have a UTI! Here’s a fucking banger!”
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CMAT was raised on a food plan of Dolly and Dolores O’Riordan, and her vocal trills sound wonderful, not often faltering despite all of the horseplay: a snatch of ballroom dancing along with her bandmates; sliding into the splits on Peter Bogdanovich; a slow-tease elimination of her tasselled sequin jacket to disclose a daring vest with one other slogan: “CMAT IS A SILLY BITCH”.
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The older materials makes for a contented bob-along however the double-header of No Extra Virgos and rooting-tooting new single Have Enjoyable! are the actual gems, and an excellent indicator of her knack for raunchy alt-pop that also feels match for daytime radio. “I wager a few of youse are like ‘Nah, I solely got here right here cos the Guardian informed us to,’” she quips, when asking the group if they’ve one other singalong in them. She’ll possible be too busy celebrating her largest set thus far to test in on this liveblog, but when she does, depend this as a double dose of approval.
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West Holts, 12.30pm
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Her fame might have waned since she was the music most reached for throughout mid-late 90s comedowns, however Beth Orton instructions a big crowd early within the day. Her set is constructed round cuts from excellent recent album Weather Alive, its darkish temper lifted slightly within the sunshine by a five-piece backing band that features Portishead’s Adrian Utley guesting on guitar.
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The title monitor is simply as moonlit and dramatic as on document, performed barely slower however with an nearly malevolent ahead movement: a river at evening with a chilly present surging in its depths. However different songs from it are extra buoyant – Fractals has an Afrobeat groove adorned with cute high-pitched plucked guitar – and he or she provides well-chosen highlights from what’s now a big catalogue. Purchasing Trolley has driving storage rock guitars, Central Reservation is completed as ambient jazz, Somebody’s Daughter will get a lilting reggae association that completely suits West Holts, and a closing Stolen Automobile demonstrates how she so cleverly situates English folks within the uncaring bustle of up to date life.
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All through, she sings with a jazzy, conversational bent, letting ends of traces lapse into amused or bruised speech, and he or she nonetheless cuts via at the moment’s generically beautiful pop voices along with her variously damage, quizzical and naive cadences. You think about there’ll be a lot trekking up the hill to the Crows Nest for a second set at 4pm.
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Predictably sufficient, along with his heritage spanning Johannesburg and Doncaster, you’ll be able to’t plot singer-songwriter Skinny Pelembe on to the style map – one minute he’s recalling the gooseflesh trip-hop of Tough, the following the efficiency poetry of Kae Tempest, the following the groovy, bluesy alt-rock of Spoon.
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There are moments the place his songwriting lapses into temper music, with out hooks to anchor the ruminating craft. However a central solo part of that rhythmic spoken-word flows, is riveting, and out the opposite aspect comes a collection of very good tracks from current album Hardly the Identical Snake. Charabanc has his most interesting melody, looking up and down like a curious hen, paired with spaghetti western guitar; should-be-hit Like a Coronary heart Gained’t Beat is powered by the pounding chords of two backup pianists (a person within the crowd begins enthusiastically air-drumming with a kitchen whisk). Pelembe’s voice comprises multitudes: sexily resonant depth but in addition a baleful bark, and he bitterly rants “no blacks, no canine, no Irish” time and again for an impressively anti-feelgood ending.
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When we interviewed him earlier this year he proudly confirmed our author his identify on the Glasto lineup on his telephone, and he appears moved to be lastly stood on this stage; his magnetic presence pins to the turf everybody who wanders up.
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Pyramid stage, 12.15pm
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It’s a breezy begin to Sophie Ellis-Bextor’s set, shimmying on to the Pyramid stage in an elaborately fringed golden leotard to sing Take Me Dwelling. She understands her place on the invoice as successfully the warm-up for Glastonbury day three, easing the group into the ultimate day of music: “Let’s simply have the most effective day ever, we could?”
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Earlier than her third tune, Ellis-Bextor reveals it’s an auspicious day for herself: her wedding ceremony anniversary. Her husband Richard is in actual fact taking part in bass on stage at the moment: “I’ve been married for 18 years at the moment, and he’s fairly wonderful.” She acquired him a pleasant card, he acquired her a hoop, and so she dedicates the tune Younger Blood to him. It’s clearly a bit gradual for the viewers, however they allow her the sentimental second in alternate for Get Over You with its memorable chorus of “eye-eye-eye”.
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Ellis-Bextor goes from almost 20 years fortunately married to coquettish, coaxing extra power out of the light viewers: “I’ve been very seduced by you this morning … Let’s have a romantic time away?” And with that she launches right into a stripped-back model of Girl after which the basic Groovejet (If This Ain’t Love) by Spiller. Having correctly warmed up, we’re into dance-medley mode, main into a short cowl of Moloko’s Sing It Again and “straight to the flippin’ discotheque” with one other cowl, of Crying on the Discotheque by Alcazar. These songs are acquainted and midtempo, however kindly not asking an excessive amount of of us within the viewers as we slide and perhaps shimmy gingerly, into the remainder of the day.
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SEB then reveals it’s much more of a household affair for her on stage at the moment: her brother can also be taking part in in her band and considered one of her 5 children is pictured on the display behind her. (“FIVE children?” I hear at the very least three individuals behind exclaim.) Ellis-Bextor’s musical household was a key half in her success via lockdown along with her weekly digital Kitchen Discos, which she references each on her bass drum (the place ordinarily her identify is likely to be) and a “love letter” to the viewers: a laidback however welcome Like a Prayer. Heartbreak (Make Me a Dancer) is the most-electrified, high-energy a part of Ellis-Bextor’s set, by which level she’s woken the group up, even getting them to leap for the finale.
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“Glastonbury: have I executed my job?” she says winningly. “Are you prepared for the final day of the most effective competition on earth? My boobs haven’t popped out, in order that’s a bonus!” (This prompts some boos.) In fact the ultimate tune is the gorgeously shimmery, aloof Homicide on the Dancefloor: we’d simply be able to burn this goddamn home proper down.
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Armed with sun cream, glitter and sequins, Elton John superfans have camped out in front of the Pyramid stage for a prime position – 11 hours before the star is due to perform.
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Thomas Lewis, 22, had bought a replica of Elton’s famous 1970s baseball jumpsuit from Amazon for the occasion. “I’m a massive fan. I’ve grown up with his music because my parents always had him on and I’ve never seen him before,” he said.
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Lewis, from Basingstoke, Hampshire, had secured a main spot on the entrance limitations of the well-known Pyramid stage by 10am – a place he was decided to maintain for the remainder of the day.
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“I used to be very dedicated as soon as I came upon he was taking part in. I’m going to drink simply sufficient to remain hydrated however not a lot that I hold having to go to the bathroom. It’s gonna be powerful however I’m positive it will likely be value it.”
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Temperatures at Worthy Farm had been already a balmy 25C by noon after one of many hottest Glastonbury festivals of current years.
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Kerry Robinson, 53, and her husband, Dean Robinson, 60, had planted their tenting chairs and coolbag in entrance of the Pyramid stage by 11am and had a rigorously devised technique for protecting their spot.
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“We’ve each taken an Imodium so we don’t must go to the bathroom,” stated Kerry. “But when we do want the bathroom we’ll go in a relay.”
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The pair stated that they had a plentiful provide of drinks to maintain them going, however solely restricted meals to keep away from a visit to the putrid-smelling lengthy drops.
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“I’m a bit apprehensive due to the climate however we’ve acquired suncream, hats, drinks, cool bag,” stated Kerry, from Sheffield. “I’d somewhat hydrate and starve.”
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A capability crowd of greater than 100,000 individuals will see what’s billed as Elton’s final UK reside present on Sunday evening. He had promised 4 particular company, with rumours of appearances by Britney Spears, Ed Sheeran, Harry Kinds and Dua Lipa.
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Acoustic stage, 11.30am
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It’s a little late in the weekend to be discovering hidden gems, but the Acoustic tent (tucked up right behind the kids field) is an absolute revelation, the perfect space to zen out. Angeline Morrison is an equally delightful discovery; folk songs that strike a balance between gentle encouragement and thoughtful catharsis. In her own words: “If you’re feeling tired or worn out or fragile or in need of a good cry, I can help you with that.”
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She begins with an a capella lullaby, which she explains was sung by enslaved African women, soothing their white masters’ children. It sets the tone for her set, decolonising the white-washed literature of the genre by taking us back through the annals of musical history and illuminating untold stories.
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Clouds Never Move – written after George Floyd’s murder, and in defiance against the stubborn ignorances of the world – is played on a gorgeous kalimba, while Cruel Mother Country tells a story of Queen Charlotte (a la Bridgerton), fabled to have once been the Queen of England. It’s a haunting country ballad of the families that might have been, the black bodies lost to war over centuries of unrest. It would be a mistake to call this easy listening, but in her academic approach, Morrison proves that racial education and musical activism can come in many elegant forms.
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Before we get to today’s performers, here’s a late review from last night: Norman Cook tearing up The Park …
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The Park, Saturday 11pm
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Norman Prepare dinner has lengthy since turn out to be an establishment at Worthy Farm, all the time popping up on some far-flung stage on the competition yearly (he was over on the Ranges stage on Friday evening). It’s much less widespread for him to play one of many conventional Massive 5 levels, so this Park headline slot seems like an occasion. That’s evidenced by the big crowd that has shaped across the undulating hills of the Park space, craning to get a take a look at their returning hero. In reality it’s slightly too busy, and also you ponder whether in future organisers may take into account placing him someplace greater.
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Nonetheless, that discomfort apart, Prepare dinner’s set proves a crowd-pleaser. This was his probability to have fun his personal storied profession, to not point out the historical past of dance music on the competition. So together with intelligent twists on Proper Right here, Proper Now and Prepare dinner’s remix of Brimful of Asha, there are nods to old skool classics like Wildchild’s Renegade Grasp and a stunning tribute to Faithless’s late singer Maxi Jazz. Playfulness is the secret right here, with cheeky splicings collectively of The Rockafeller Skank and Eminem’s My Title Is, and Prepare dinner at one level donning an inflatable fats go well with within the method of his You’ve Come a Lengthy Manner, Child cowl.
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The undoubted showstopper although is a reworked Reward You, slowed down and made one way or the other extra soulful, with a particular visitor flip from Rita Ora. It underlines Prepare dinner’s capacity as soon as once more to make one thing contemporary from classic components. It’s what makes him No 1 – as a result of he tries more durable.
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Good afternoon from Worthy Farm, where we’re readying ourselves for the final day of Glastonbury 2023. It’s a scorcher once again, but our reviewers have slapped on some factor 30 and are out in the field ready to bring you reviews of Sophie Ellis-Bextor, Beth Orton, Japanese Breakfast and much more besides. Let’s gooooo!
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Key occasions
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Elton retains the power excessive with pure rock’n’roll euphoria of The Bitch is Again, powered by a tickly, percussive rhythm guitar riff from Davey Johnstone, his longtime guitarist whose relationship with Elton dates all the best way again to 1971 and the Madman Throughout the Water album.
“I by no means thought I’d play Glastonbury – and right here I’m,” he tells this fairly ridiculously large crowd. “It’s a really particular and emotional evening for me as it could be my final present in England, in Nice Britain.” He thanks the viewers for “standing there so lengthy – and I actually respect all of the outfits and every thing!”
Elton kicks off!
Ben Beaumont-Thomas
Hey, Ben Beaumont-Thomas right here, taking up from Keza to see you thru till the bitter finish. Besides it needs to be completely the sweetest, most crowdpleasingest ending to a Glastonbury possible – Elton John taking part in his ultimate tour date within the UK (I’d count on that he does one-off exhibits, even when simply charity ones, somewhat than this being his precise ultimate UK gig ever). The fireworks have simply been set off and he’s began!
I noticed this tour in Hove again in pre-pandemic 2019 and it was very good – even when he couldn’t attain the highest notes of outdated, his voice has aged in an attention-grabbing and potent manner, including a bit extra richness to his mid-range. That set had some aspect quests into album tracks – I count on this setlist to be tweaked so it’s simply pure balls-to-the-wall hits.
Wearing a gold go well with and rose-tinted glasses – all the higher to take a look at the previous with – Pinball Wizard is his opener, climaxing with a guitar solo vying with a flurry of noisy congas. As maximalist as you’d count on.
The Conflict on Medication reviewed
Jenessa Williams
Different stage, 7.45pm

I’d be tempted to rechristen the Conflict on Medication because the Conflict on Wildlife, as a result of the heady increase of their impossibly loud sound combine is the one factor that absolutely scares away the menacing cloud of seagulls who’ve been feasting on the Different stage, emboldened to dive decrease by the weekend’s glut of half-discarded quick meals. My chips might have been pinched earlier than I used to be absolutely prepared, however the rousing Oceans of Darkness rapidly distracts from my disappointment, sending fists pumping into the cursed air.
The band are halfway via a wonderful summer time of outdoorsy headliner exhibits at Halifax Piece Corridor and Trinity Faculty Dublin, in addition to a romp throughout the festivals of the US, and their muscular model of heartland rock is a knapsack that travels effectively. You recognize what you’re getting, and the guitars specifically all the time sound good – effectively oiled from years of touring and collaborating proper throughout the indie rock sphere. The gang isn’t enormous, barely reaching again so far as the sound desk, however those that are into it appear actually into it. They comply with the cues of refined tempo adjustments: flares and rabble-rousing for the upbeat Pink Eyes; a pared again sway for I Don’t Wanna Wait, a honest ballad that twinkles with 80s synths.

With the solar starting to fade behind us, the entire thing ought to really feel like cinema, a transcendent soundtrack to a highway journey via desert states. At instances, it does will get fairly shut. However so as to channel full essential character power at a present like this, you want to have the ability to join extra with the lyrics. Anybody who isn’t word-for-word acquainted right here would battle to decipher Adam Granduciel’s husky-toned supply due to his tendency to murmur the ends of his phrases. You get tiny snatches of intriguing craving – “I’m a sufferer of my very own want”; “I’ve been hiding so lengthy”, “It’s so laborious findin’ associates lately” – however they’re usually whipped away by the wind or drowned out by sax, lacking their ultimate illustrative flourish.
One lady close to the place I’m stood leaves the group to lie down for a nap close by. Whereas I don’t perceive her tolerance for quantity, I need to say I perceive the impulse. The Conflict on Medication’ set is musically virtuosic, daring, and in the end fairly lovely, however a wash of sound higher loved at a delicate distance.
Lil Nas X reviewed
Ben Beaumont-Thomas
Pyramid Stage, 7pm

When you have a discography like Blondie’s, you don’t want to fret an excessive amount of about something however taking part in the hits. However in the event you’re coming to the Pyramid with solely a handful of songs that almost all Brits know, you’re minded to placed on a giant manufacturing to assist wow that vast crowd and carry them together with you. Lorde did this final 12 months along with her wondrous stage set; now, Lil Nas X arrives with by far the 12 months’s most batshit and epic present on the Pyramid.
In entrance of an unlimited tableau of Hepworth-y sculptural varieties, male dancers with enormously lengthy plaits hurl their hair round as a thrash-metal association of Name Me By Your Title begins up. Lil Nas X is resplendent in white fur, gold breastplate and tassled (yassled?) chaps. An enormous serpent is paraded throughout the stage, to be succeeded later by different legendary beasts together with a puppet crane and a minotaur along with his deal with very a lot on show.
For Outdated City Street, Nas rides in on a large horse and his dancers drape themselves round it in fetchingly sexualised preparations. Presumably deciding that his ostentatious outfit is simply too conservative, he returns in a glittery blue loincloth, blue furry boots and matching kneepads. Quickly he’s pashing considered one of his dancers. The stage ground is steadily thrust upon. Someplace, a deeply repressed Conservative MP is drafting a tweet about how our youngsters aren’t protected.
Nas’s dancers admirably maintain the fort whereas he will get modified, flipping like Olympic gymnasts at a ballroom face-off to a soundtrack of lure, reggaeton and Rihanna. It’s not simply the visuals that broaden the attraction. Snatches of hits reminiscent of Nirvana’s One thing within the Manner, Michael Jackson’s Beat It and Ginuwine’s Pony are threaded into the preparations to maintain the group on aspect. Whereas these are deftly executed, in fact his songs are robust sufficient to not essentially want them. That’s What I Need is especially good, the purity and absolute want in his want for real love expressed in such an open-hearted, emotionally accessible melody.
He closes out on an excellent greater excessive: the horn fanfare of Trade Child. Whereas visitor rapper Jack Harlow doesn’t actually get to make an impression, hampered by a barely dodgy mic and short-form verse, we’re all distracted by the dancers, who are actually dressed as electrical blue majorettes – and naturally Nas, his voice hovering on the climax. This will need to have been probably the most brazenly, ostentatiously queer present ever staged on the Pyramid, however for all of the pearl-clutching that Lil Nas X induces on-line, within the crowd, everybody from households to chiselled homosexual males to lairy lads simply get on with having fun with the sheer joie de vivre of this massively endearing performer.
A tip for tonight in the event you’re not into Queens of the Stone Age and/or there’s a lull in Elton’s set while you’re watching later: French dance-pop outfit Phoenix, taking part in Woodsies at 9.30pm, are supremely enjoyable.
Established avant-pop artist Caroline Polachek has a really sparse crowd over at Woodsies, the place she’s been taking part in for the final 20 minutes or so. The programming has not been form to her – final 12 months she was taking part in to a reasonably respectable viewers up on the Park.

Ben’s again from Lil Nas X. Jack Harlow got here out for his verse on Trade Child on the finish there. Assessment coming quickly!
Man, this Conflict On Medication set is such sunny, spangly, chill vibes. They’re in the midst of Pink Eyes simply now. Such a full sound, so very many guitar pedals. In the meantime the group on the Pyramid is beginning to get slightly stressed, experiences Shaad.
The Conflict on Medication have simply arrived on the Different stage, sounding great with Oceans of Darkness. The night could be very a lot underway – T minus slightly below one hour to Elton …
A few photographs of how Lil Nas X is exhibiting up on the Pyramid Stage proper now:


There’s a enormous crowd for Romy (previously of the xx) at Mexi-themed micro-venue San Remo, experiences Laura Snapes: “she’s taking part in big-feelings dance music, together with a banging remix of SFA’s Flowers.”
Blondie reviewed
Ben Beaumont-Thomas
Pyramid stage, 5pm
“A strong efficiency of the very good Dev Hynes co-write Lengthy Time exhibits that their later tunes can match their classics, but it surely’s Coronary heart of Glass that has this gigantic Pyramid crowd waving in unison – a really superior sight. By now Harry is wearing a cowl comprised of shards of mirror, like a comic-book soothsayer stalking the imply streets of the Decrease East Aspect. As she mellifluously sang earlier on, at age 77 she’s clearly not the form of lady to surrender identical to that.” Full assessment:
Keza’s now again from a short queer-chaos Lil Nas X second – simply in time to share the Blondie assessment…
Elle Hunt
As we await Ben Beaumont-Thomas’ assessment of Lil Nas X, Keza experiences again from the Pyramid stage with what feels like a cracking present:
Lil Nas X is completely lovely in a gold crop prime and tight white denims, festooned with fur and feathers – true to his hip-hop nation roots. Name Me By Your Title is a walloping tune, even when it solely lasts about 90 seconds earlier than he launches into one thing else, demonstrating that quick consideration span that’s well-known by now of Lil Nas’s units. His backing dancers, of all genders, are sporting white cut-out bodycon clothes – and for his breakout single, Outdated City Street, Nas seems on a large golden horse.
The Hu reviewed
Gwilym Mumford
West Holts, 5pm
It’s by no means uninteresting on West Holts. Straight after the South London jazz fusion of Audio system Nook Quartet, we’re served up a considerable slab of Mongolian folks metallic. The Hu are an Ulaanbaatar-based eight-piece – a few of them in ceremonial gown, some in leather-based dusters – who play a combination of contemporary and conventional devices, guitars rubbing up towards tovshuur horsehead fiddles. Their songs comply with go well with, resembling Black Album-era Metallica if James Hetfield had extra of a penchant for Tuvan throat singing.
Mongolia has a sturdy rock scene, with bands exploring every thing from garage psych to black metal. However The Hu are the uncommon band to have damaged via internationally, attracting lots of of thousands and thousands of views of their movies and collaborating with Papa Roach and Halestorm. You believe you studied that has a lot to do with The Hu’s willingness to play up their heritage: the struggle cries and songs about Genghis Khan absolutely go down effectively with audiences acquainted with solely that surface-deep thought of Mongolia. It could be instructive to know simply how they’re seen by different bands within the Mongolian music scene.
That’s not a difficulty for the right here and now, although. At West Holts the group are thrilled by these deep riffs and deep Mongolian ululations. At instances, when the riffs go from sludgy to galloping, with these bowed devices screaming excessive they might nearly be mistaken for the Dropkick Murphys. The riffs do are inclined to repeat themselves after some time however irrespective of: there’s all the time one thing to be engaged by right here. It ends as the most effective metallic concert events do: with an enormous moshpit, one thing that tends to transcend race or nationality.
Elle Hunt
Good night, Glastonbury crew – I’m taking up the reside weblog for a short time in order that my colleague Keza, who’s been so splendidly steering you thru for the previous few hours, might get pleasure from at the very least the primary few songs of Lil Nas X. Having simply returned to Guardian HQ (it’s much less glamorous than it’s possible you’ll think about) after a day roaming the sphere, I can inform you that there’s that last-day-of-school vibe on the market on Worthy Farm proper now – plus the longest queues for the bar I’ve seen to date this weekend. The breeze, assuaging the warmth of yesterday, has made a noticeable distinction – everybody appears to be again on prime and decided to see off the competition in excessive spirits.
Whereas we’re in a between-sets lull: I believe my favorite second of this competition to date has been singing This Charming Man with Rick Astley. There’s multiple era of Smiths followers now who’ve by no means seen these songs performed reside, and it actually was transferring. Additionally, Slash’s superb soaring performance of Candy Youngster O’ Mine. That guitar tone was candy sufficient to provide me toothache.
Becky Hill reviewed
Jenessa Williams
Different Stage, 6pm

Clad in a neon smiley three-piece that completely screams Glastonbury raver, Becky Hill is making no bones concerning the specialness of her 11-year journey “to get to this actual place”: which means not simply the Different stage, but in addition her station as present reigning queen of chart-friendly dance. She throws out a plethora of Ibiza hun bops: Overdrive is a belter, whereas Identical Outdated Story has some nice dancers voguing, renaissance-style, in glittering silver. “I went to Arcadia to see Chemical Brothers, and now I absolutely get this place,” she says. “I’ll be coming again now so long as I can. Hopefully working, if I don’t screw this up.”
Illustrating the rising respect in direction of her style, she’s introduced alongside the Heritage Orchestra, ensuring that their contributions to the canon of dance, home and digital music are well-known. A win for Becky, it seems, is a win for the entire group, and there’s one thing very endearing concerning the degree of thought she’s put into this event: a profession bucket-list merchandise ticked.

Some appreciation within the feedback for the energetic nu-metal-esque rockers Nova Twins, who performed the Greenpeace Stage final 12 months contemporary off profitable the Kerrang award for finest newcomers and had been upgraded to the Different stage this afternoon. They completely rock, all chugging guitars and deliciously spiteful lyrics delivered at lightning pace. Examine ’em out in the event you can.