Glastonbury live: Olivia Rodrigo storms the Other Stage ahead of Paul McCartney’s Saturday headline slot

After a heavy night spent watching the sun rise in Block9, listening to Celeste’s silky tones on a Saturday afternoon feels like the ultimate hangover cure. When the 28-year-old arrives on the West Holts stage, her hair spiked into sharp points like a high-fashion Dennis the Menace, she gives off a warmth that emanates throughout the crowd.

It’s hard to tell whether it’s the sudden burst of sun or her voice doing it. She kicks things off with “Ideal Woman”, the opening track from her Mercury Prize-nominated album Not Your Muse. With just a cello accompanying her, it’s a subdued start to the set, but she quickly shows off the real star of the show: her voice.

There’s a richness to Celeste’s vocals that belies her youth. Every song carries the precision of an album recording, but the live band bring new depth to tracks like her drum and bass-inspired hit “Stop This Flame”.

There’s minimal audience interaction (which might be down to nerves) and at times, the set feels a little placid. Still, it’s a tonic the crowd laps up, and “Strange” is a fittingly soulful closer. IL ★★★★☆

Glass Animals – Other Stage

“I’m so sorry guys,” says Glass Animals frontman Dave Bayley. “So anticlimactic.” The Oxford four-piece have just bounded onto the stage, only for technical issues to stop them bursting into the heady “Life Itself”.

They leave the stage. Try again. Succeed. It’s a blistering start. Skipping, spinning and gyrating, Bayley is an indefatigable frontman, with a tendency to roll his tongue out lasciviously, as if channeling Gene Simmons. Mixing buttery R’n’B grooves with indie pop, the band has always been a hugely confident live act. But this year they have even more reason to be full of swagger, having conquered the US with their 1.7-billion streamed song “Heat Waves”. Before they drop that, though, we get Bayley standing on the barrier, delivering an especially louche rendition of 2014’s woozy hit “Gooey”.

As “Heat Waves” finishes the set, sparking a mass singalong, the sun comes out. How fitting. ★★★★☆

‘I’m your summer girl, doo doo, doo doo do do doo’

A lot of mentions for the Rabbit Hole and Avalon… are Haim hinting at a secret set?

A confession… I was never the biggest Haim fan and struggled to see what the fuss was about, then had a complete turnaround when they released third album Women in Music Pt III. I adored the Lou Reed nods in “Summer Girl”, the noodling saxophones, the harmonies, the lyrical candidness… all of it! Also Alana Haim in Licorice Pizza (with her sisters and their parents cameoing), was excellent, even if the film itself wasn’t my cup of tea.

Some absolute powerhouse riffs being carved out by Este right now.

Delayed by 13 minutes, here’s Haim on the Pyramid set, I’m expecting EXCELLENT things.

“Our safety as a species is on a collision course with our current systems… the longer we pretend that this is not the case, the longer we pretend that we can solve this catastrophe within a global societal structure that has no laws or restrictions whatsoever protecting us longterm from the ongoing self-destructive greed that has brought us to the very edge of this precipice, the more time we will waste.”

Thunberg is now calling out world leaders for creating “loopholes” and “benefited the destructive industries”.

“The forces of greed and profit and planetary destructions are so powerful that our fight for the natural world is limited to a desperate struggle to avoid a total natural catastrophe. We should be fighting for people and for nature, but instead we are fighting against those who are set on destroying it. Today our political leaders are allowed to say one thing then do the exact opposite.”

“Does anyone like rock’n’roll songs about ice cream?” asks Metronomy’s Joseph Mount. Cue enthusiastic cheers. Formed in 1999, Metronomy thrived on the early success of their beeping, bopping hits. The Devon band, today dressed in a plethora of colours, now have seven albums to their name, including 2012’s magnificent English Riviera. But as the bubblegum sound of 2019 track “Salted Caramel Ice Cream” booms out from the stage, the bodies in the audience wriggle and wave, and it’s clear the band are still hitting the sweet spots.

“It feels so good” shouts Mount as “The Bay” thumps out across the field. “Love Letters” sends the crowd into clumsy clapping chaos. The decade-defining “The Look”, released back in 2010, unleashes a synth-propelled wave of electro indie with hooky instrumentals and irrepressible melodies. Hit after hit slices through the warm Wothy Farm air like a Prince classic, and thousands of hands clap back. ★★★★★