Finias is struggling for Belichée, another mid-tempo number. We’re into the sad bangers part of the set.
“Youngest headliner in Glastow history – what” claims Eilish. Fair enough, actually!
There is no better description for this set than pure bliss. The choice of stage is questionable — the Avalon is a tent with no screen, so you can barely see the original-Lee Nupe Sugabeb (Mutya, Keisha, Siobhan) unless you’re right there — but it’s really Hardly matters. It was always going to be a singalong where you could barely hear the girls anyway (though to be fair, when they do the acoustic versions caught in a moment, they really show off those immaculate vocal harmonies). With punctuation marks of electric guitar solos, the crowd chanting along to the tunes as the song forms, it’s just banger after banger: the opening sequence is Push the Button, In Overload, In Hole in the Head. They head to a few more obscure tracks, then make the inspired choice of revisiting their cover of the UK garage classic Sweet Female Attitude Flowers. And when they end up in the head-banging chaos of Freak Like Me, on the polish of Round Round, in the sugary pop of About You Now? They remind us exactly why they remain one of British pop’s finest.
Other kids my age dreamed of receiving Hogwarts letters, but my hope was to one day be called upon to become Sugababe. Tonight that dream dies, but I’m okay with it: This show solidifies that the core formation of the ever-changing group is innately the last, most wonderful. Tara Joshi
I want to know more about shin tape too!
Eilish reverses Supreme Court to introduce Roe Wee Wade to Your Power, which she plays acoustically with Phineas:
“Today is a really dark day for women in America and all I can say is I can’t bear to think about it any more at this very moment. This song is dedicated to what I feel.”
Eilish is a real proponent at the lost art of crowd conversation, something that seems a little too fashionable in pop’s hard-faced current moment. Lots of calls and responses, asking the audience to downvote, pitting different sections of the crowd against each other.
Billy Bossa Nova and Goldwing Next: The former is a bit of a palette cleanser after intensification, the latter a proper big singalong.
Away from Billie Eilish for a moment – Ben Beaumont-Thomas has reviewed Sam Fender’s pyramid set and it’s a bit encouraging.
In his 5-star review, he says, “It was the big post-Covid performance that everyone was craving, and was sorely missed.”
Deep Beef You Should See Me in a Crown – The bass is absolutely brutal. It’s so fast it’s shaking the Guardian cabin, making typing a bit of a challenge. Any chance you turn it down a shadow, Billy?
“There are a lot of you guys. Fuck Jesus!” Not halfway, Billy – it looks absolutely remo-ed.
A little change of pace here with my weird addiction and now more catchy ballads. Eilish’s brother, Finnace O’Connell, is getting a little bit of screen time, on keys and guitar. He is a huge name in his own right these days.
Eilish walks down her custom Glastonbury catwalk for So I Am. And, in track four, there’s finally a chance to take a breath and say hello to the crowd. What a vibrating opening!
NDA Forward – It’s amazing how much of a crowd is here for it, belting back every last song.