Finally acclimatising to the morning heat, LIGHTNING SEEDS are a magnificent prospect on the Pyramid Stage. While by no means the most accomplished line up in the group’s history (rest assured the inclusion of Ian Broudie’s son on second guitar is not through technical ability alone), the joyful nature of their back catalogue provides a beautiful start to the day.
THE NATIONAL later take to the Other Stage in eerily similar conditions to that of Elbow two years previously: the set that undoubtedly put them on course for the Mercury Prize and the big arenas. The performance builds fantastically but without the grand finale of One Day Like This that Elbow had up their sleeve, it perhaps lacks the “I was there moment” that made that performance so special.
While many bands seem to play up to the hopeful and optimistic nature of Glastonbury, THE CRIBS seem more likely to beat it to death. With the addition of Johnny Marr on guitar a few years back, Ryan Jarman has been able to propel himself into potentially one of the most vital rock and roll front-men of recent times.
Arriving on the Other Stage in leather jacket, sunglasses and with Kurt Cobain swagger (spurned on more by a hatred of other bands than any sense of self appointed majesty) it’s impossible to take your eyes off him. Johnny Marr might still own some of the coolest guitar tricks and posturing known to man but it’s the intensity of Ryan Jarman which is the focal point here. The crowd down the front respond by beaming smiles from ear to ear whilst screaming back lyrics regarding the vacuous nature of the music industry and institutionalised sexism. While they may be preaching to the converted and do little to adhere themselves to casual passers by, that’s not the reason The Cribs are here today. They play some of the greatest rock and roll songs of the past 10 years then end with City Of Bugs; a six minute explosion of raging feedback and liquid Johnny Marr guitar. Ryan Jarman jumps into the crowd, has his shirt ravaged then blows mock theatrical kisses to the back of the audience. They are sensational.
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As Michael Eavis himself states a few days later, MUSE are “proper headliners”. The absolute power and force of this group produces live is a joy to behold. While it’s sometimes easy to dismiss them on record as being more about theatrics than actual soul, in this setting every song comes alive and works perfectly. The astounding musicianship is undeniable and by the time New Born produces an uncontrollable crowd reaction you realise that you are undoubtedly witnessing the greatest pound for pound live attraction in rock and roll working at the top of their game.
Between songs the band fire up short jams of Heartbreaker, House Of The Rising Sun and Back In Black meaning the set gains an exquisite fluidity and retains a sense of humour and elation that prevents it becoming an overblown prog work out. The appearance of THE EDGE for a celestial version of Where The Streets Have No Name gains an ear splitting reaction but it is always Muse’s moment. The unbelievably massive finale of Knights Of Cydonia stands head and shoulders above anything a rock band has been able to achieve recently in sheer scope and ambition. It is an absolute spectacle yet constantly provides an instinctively life affirming quality.
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