The festival reaches its final day, featuring a crowd-pleasing afternoon of legends on the Pyramid stage, plus Prodigy, Wolf Alice and Kate Nash

It is mercifully overcast at Worthy Farm today, without the heat that’s been oppressing festivalgoers so far this weekend. That makes for a pleasant setting at the Pyramid stage to see Mercury prize-nominated and Brit rising star award-winner Celeste. She is preparing to release her sophomore album Woman of Faces, nearly five years after her debut Not Your Muse instantly topped the UK album charts. She says that she did not expect it to take this long for her follow-up, but that“everything happens when it’s supposed to”.

With her brilliantly smoky, soulful vocals, Celeste invokes the likes of Billie Holiday, Otis Redding and Aretha Franklin, yet her distinctly English lilt provides a girl-next-door entry point to her magnificence. The emotion in her voice and in her songs is so overflowing that she repeatedly flaps her arms, as if shaking out the mood before it swallows her. On With the Show, a formidable, high-octane ballad, reaches big, orchestral moments of brilliance before Celeste transitions into more minimalist tracks with contemplative piano.

Other stage
Playing to a dizzyingly huge crowd, for many this is Saturday’s true headlining set: a bawdy and uncompromising icon playing alone with no frills

For my money, one of the best pop tours of the 21st century was Kanye West’s Yeezus tour. Like the album it was supporting, the Yeezus tour was abrasive and minimal and totally spectacular: West stood in front of gigantic bright-red screens and blasted arenas with some of the harshest, most acidic sounds ever considered mainstream. That tour was unrelenting and uncompromising and, as a result, totally compelling.

Charli xcx’s Brat tour may be the only clear successor. It is a show whose main components are a curtain, a few stadium strobe light rigs, and one star whose vision is so specific and so well realised that the “necessities” of an A-list pop show – dancers, set pieces, etc – suddenly seem like crutches for anyone less in tune with themselves. This makes sense, given that Charli is also our clearest successor to West himself: despite being a prodigiously talented mainstream songwriter, she has dedicated her career to exploring the most caustic, hallucinatory sounds of the underground, and working out how best to synthesise them with the pleasures of pure pop music.

Exclusive: The Irish rap trio have recently faced censure and a court case, but have also had support for their pro-Palestine stance. Ahead of a Glastonbury appearance deemed ‘inappropriate’ by Keir Starmer, they argue the backlash against them is a deliberate distraction

In April, the Irish-language rap trio Kneecap performed two sets at Coachella, the California music festival attended by 250,000 people. As is commonplace at the group’s shows, Kneecap displayed a message stating: “Israel is committing genocide against the Palestinian people,” and the words “Fuck Israel. Free Palestine”. Mo Chara, one of the group’s members, told the audience: “The Palestinians have nowhere to go. It’s their fucking home and they’re bombing them from the skies. If you’re not calling it a genocide, what the fuck are you calling it?”

Within a week, Kneecap’s US booking agent had dropped them, Fox News had likened the statements to “Nazi Germany”, a handful of summer shows had been cancelled, and two videos from 2023 and 2024 had resurfaced of the group on stage saying: “The only good Tory is a dead Tory,” and “Up Hezbollah, up Hamas”. The former statement attracted criticism from the families of murdered MPs Jo Cox and David Amess, leading the band to apologise – “we never intended to cause you hurt” – and to reject “any suggestion that we would seek to incite violence against any MP or individual”. While saying “we do not, and have never, supported Hamas or Hezbollah”, they also described the recirculation of the videos as a “smear campaign” against them, with the footage “deliberately taken out of all context”.