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Perhaps the most bizarre combination of co-headliners to top the bill together, day two sees Post Malone and Twenty One Pilots bring the new-wave emo kids and the Supreme crowds together in the spirit of Reading. 

The day, however, starts long before the main events with Sophie and the Giants on the Festival Republic stage. Their effortless pop eases groggy revellers into the harsh light of day as Sophie Scott sways around stage delivering pitch perfect vocals over hook laden tracks. The four-piece from Guildford are tipped for big things, and it’s easy to see why from their performance today; they have the chemistry, songs and voice to match most of the daytime Main Stage acts billed over the weekend.

Swiftly becoming a national treasure, Slowthai’s set on the BBC Radio 1 stage lives up to it’s reputation as being one of the must-see sets of the weekend. Circle pits, mosh pits and flares all make an appearance as well as a new track featuring Denzel Curry, proving there’s still so much more to come from this Northampton wonder. Pairing a punk ethos while performing with British rap, it’s easily one of the most thrilling sets of the weekend. 

Dinosaur Pile-Up take to The Pit at 3:50 with their alternative rock, having just released a new album and the ink still drying on a deal with Parlophone Records. Their tried-and-tested formula draws a sizeable crowd but the set fails to deliver anything more than a satisfactory run of rock tracks. Pushing boundaries they are not, but it doesn’t mean they can’t entertain a crowd.

Up next, the word on everyone’s lips: Billie. There’s not much you can say that hasn’t already been said about arguably the biggest pop star in the world right now. In the space of a year Billie Eilish has rocketed from underground cult legend to the most mainstream, talked about artist since anyone can remember. The older generation love her because she’s a, quote unquote, “real singer”, and the teens can’t get enough of her - they identify with her and completely dote over her. Clocking in at the age of just 17, she predictably pulls one of the biggest crowds the festival has seen to date, stretching all the way back to the BBC 1 Dance Tent.

Bouncing on stage to ‘Bad Guy’ (duh), the roars from the crowd are beyond deafening. Who knew that one teenager could create such hysteria, particularly at 4PM in 30 degree heat. Working her way through the ironically addictive ‘My Strange Addiction’, ‘You Should See Me In A Crown’ and tear-jerker ‘idontwannabeyouanymore’, every word of every song is sung (albeit less gracefully) back to her. 

In a genuinely breath-taking moment, the camera pans across the crowd to show the sheer volume of people that, before the incredibly wise stage amendment, would have attempted to crush themselves into the BBC Radio 1 tent. The gravity of how important Billie is to the industry, moreover to the younger generation right now, really hits home looking out across the sea of transfixed faces. 

Rolling through ‘ilomilo’, the more filthy ‘xanny’ and the song that started it all, ‘Ocean Eyes’, you get the feeling that she could do literally anything right now and the crowd would go wild. Finally, a mind boggling rendition of ‘Bury A Friend’ and the crowd couldn’t disperse quick enough - they were here for one thing and one thing only, and they got their fix of their strange addiction. 

On to one of the other highlights of the day, Anderson .Paak - or rather Anderson .Paak’s smile. His constant grin is potentially the most contagious thing to ever grace this earth, beaming earnestly out to a crowd who can’t help but beam straight back. His set seems to elevate the sunshine, with a funk overtone and a breezy trumpet solo so feel good it makes you want to quite literally burst with joy. He unquestionably deserves a bigger crowd than the one gathered, but even Woodstock 69 would look sparse after the behemoth of a crowd gathered for Billie Eilish. 

Headlining the Festival Republic stage with a surprisingly short set, Peace wheel out as many of the classics as time will allow, as well as a few surprises along the way. Swinging a new song into the set, frontman Harry Koisser introduces the track to the Reading crowd, “it’s called ‘Good Jeans’ but it’s not necessarily about jeans, I’ve employed a metaphor. I hope you enjoy it.” A cover of Cyndi Lauper’s ‘Time After Time’ is another unexpected addition to the set which is mostly filled with songs from their first two records. 

Now, being an alternative teen post 2010 must be a pretty difficult feat. The holy trinity - My Chemical Romance, Fall Out Boy and Panic! At The Disco - are lost to the mainstream or obsolete, studded belts are as few and far between as honest politicians and MySpace is a distant memory gate-kept rather aggressively by those above 30. In steps Twenty One Pilots: this generation’s answer to the leaders of the misfits and the misunderstood.

The showmanship behind a Twenty One pilots show is honestly humbling - the crowd interaction is second to none, and never for one second do you doubt that they are eternally grateful to be on that stage. The costume changes, pyrotechnics including a flaming Cadillac and spectacular lighting show could be interpreted as distracting gimmicks, were it not for their true musicianship and genuine talent. “We have a deep respect for your music culture and your festival culture here in the UK, so this one’s for you guys” they announce, before going on to sing the ultimate Britpop classic, Oasis’ ‘Don’t Look Back in Anger’ to a deafening singalong. 

The show comes to an emotional climax for ‘Car Radio’, with every voice in the crowd screaming “I liked it better when my car had sound” in an inadvertent mass bonding exercise. Despite being co-headliners, they pulled a headline set complete with tricks and fireworks out of the bag, proving to be a hard act to follow for our man Posty.

Speaking of Post Malone, here he is - the most grateful man in hip hop. The words “Thank you so fucking much” are emblazoned into the back of our skulls after hearing them fall out of his mouth approximately 300 times. His genuine grin doesn’t leave his face for the entire set, working his way through bop after bop like “Wow.”, “Better Now” and “Candy Paint” to a crowd that are lapping it all up.

He sounds great, more raw and authentic, despite the overbearing autotune. Between the moments of genuity there are interspersed yells of slightly more crass “How the fuck we feeling tonight baby? Who the fuck is turnt up with me man?”, received by the crowd as if he’d just dropped the most mind blowing piece of literature this century has seen. 

You can’t help but feel that the set is carried heavily by the backing track, as he relies on pyro and dry ice to fill the gap on the stage. Many acts this weekend have commanded the huge space; Charli XCX, Billie Eilish - but Posty seems to drown in the grandeur of it, making it look almost cavernous.

There is something compelling and vulnerable about the way he presents himself, a sincere side as he bounces his way through ‘Sunflower’, ‘Rockstar’ and ‘Congratulations’, smashing his guitar in one fell swing. “This is my way of telling every fucking one of you to do whatever the fuck you want” he screams down the mic, somewhat uninspired compared to The 1975’s existential crisis-inducing speeches last night. “Follow your fucking dreams”, he urges the waning crowd of Alex from Glasto look-a-likes.

It’s a profanity fuelled, slightly lacklustre setlist from our unlikely star, potentially more suited to a headline set on a smaller stage, or back on the Main Stage mid afternoon slot. But who could possibly take the headline spot from him next year? There’s only one answer, and it’s Billie Eilish.

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