Follow the Sunday festivities with the Guardian’s photography team as Turnstile turned up the energy, Michael Rosen spun some stories and Olivia Rodrigo blew us away
Sunday at Glastonbury kicked off in wholesome fashion in the Kidzfield, with Michael Rosen speaking to a young audience, preceded by a children’s disco party.
Michael Rosen speaks to children about literature and language in the Kidzfield.
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.
Raye wowed with her old-Hollywood glamour, Pulp did 90s nostalgia at its best and everyone tried to hide from the heat – see the best Guardian photography from a big Saturday
The sun hit hard on Saturday until late afternoon, and proved too much for some people.
Festivalgoers struggle in the heat by the Other stage. Photographs: Alicia Canter
There’s a stacked bill on offer at Worthy Farm. We’ll be bringing reviews, news, pictures and more throughout the day, with Raye on the Pyramid and Skepta replacing Deftones
When Ichiko Aoba was a child, experiencing loneliness and isolation, she lost herself in the fantasy worlds created by animation studios such as Studio Ghibli and Disney. The Japanese folk singer-songwriter further nurtured that interest in intricate world building as a form of escapism through creating her music – and despite its niche and experimental composition, she has found global popular appeal built up from a significant cult following.
She sings entirely in Japanese so live I cannot dissect her lyrics, but you can parse her themes from the visuals and from her tone: the stage is draped with willows and Aoba’s airy vocals are atmospheric and expansive, bringing to mind the serene and tranquil ancient forests of Japan like Aokigahara or Yakushima. You half expect a deer to gallop on stage and be fed by her hand. Aoba certainly looks the part of a nature deity: she is donning a laurel crown and she wears a shimmering, long ruffled dress with iridescent and metallic colours. “That must be so warm,” says a woman sat next to me, and indeed Aoba acknowledges the “sunny day” and sips from her bottle.
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