Photo: Shirlaine Forrest

Glastonbury Festival Tickets

“Holy fuck it’s hot,” Villagers’ lead singer Conor O’Brien is obviously not on the lookout for points for incisive observations as the sub-Saharan weather continued into the final day of the greatest festival on earth. The dark, melodic, brooding folk of the Irish quintet seemed at odds with early afternoon slot on the Park Stage but nonetheless the power and emotional intensity of the O’Brien’s songs is impossible to ignore. Never missing an opportunity to bait the English, one of Villagers even donned a Germany football shirt much to the chagrin of some of those looking on. (AA)

Having battled broken down tour vans and many a European border crossing just to be in Somerset, Scottish collective Frightened Rabbit inserted some poignancy and heart into the Other Stage’s early afternoon proceedings. ‘Loneliness In The Screen’ got people clapping along as if their lives depended on it, while ‘Living In Colour’ and ‘Swim Until You Can’t See Land’ brought colour back to the cheeks of the weariest of heads. (CA)

It almost seemed criminal that a band who is as electrifying live as The Hold Steady found themselves constrained by a 50 minute slot at 13:10 on the Other Stage. As a result we were treated to a tantalising glimpse of the band’s dazzling live stage show. Craig Finn danced around the stage like your Dad at a wedding after one too many liqueur chocolates, with wild gesticulations of a man whose soul had been possessed as the Brooklynites tore through the stand-out tracks (‘Stuck Between Stations’, ‘Stay Positive’ and ‘Your Little Hoodrat Friend’ to name just three) from their five magnificent long players. (AA)

Basque-inspired Londoners Crystal Fighters were unfortunate to land a slot which coincided with the opening stages of the ill-fated England-Germany match, but their lively set on the East Dance stage was a great illustration of their energy and variety to those in attendance. Dealing in mad beats, belligerent basslines and a revolutionary frontman named Sebastian, the trio had their spectators abuzz with rhythm and ting. ‘I Do This Everyday’ and ‘I Love London’ both got well-received airings early on, while the anthemic quality of ‘Xtatic Truth’ shone as brightly as the weather outside. (CA)

We Are Scientists politely refrained from playing their football-themed song on the Other Stage later on that afternoon, focusing instead on showcasing a fair portion of their recent ‘Barbara’ album. ‘Rules Don’t Stop Me’ and ‘Nice Guys’ both showed that Messrs Cain and Murray still have a decent way with a pop-rock tune, while ‘Nobody Move, Nobody Get Hurt’ and ‘The Scene Is Dead’ were also highlights in their show. Let’s not forget Chris and Keith’s legendary banter either though. Chris celebrated the late-afternoon sunshine by putting on a pair of light-reactive glasses which “ladies and gentlemen, secrete a protective layer to prevent the sun’s nasty rays from entering my eyes. Don’t worry though, I’ll still be able to look into your eyes. Our intimacy will NOT be impeded.” Later on, ‘The Great Escape’ had people jumping like there was no tomorrow, while set-closer ‘After Hours’ proved a timely reminder that WAS remain one of New York’s most charming bands. (CA)

After Worthy Farm had returned to its normal levels of activity, having ground to a virtual standstill during that unimportant, poorly-publicised football match earlier in the afternoon, legendary folk troubadour Loudon Wainwright III took to the Acoustic Stage. Like a guitar wielding Albert Einstein, Wainwright girned and grimaced his way through his set in a typically unconventional manner stamping his feet and sticking his tongue almost subconsciously. Set highlights included a riotous version of one Wainwright’s earliest singles ‘Dead Skunk’. (AA)

Such was the level of Faithless’ performance on the Pyramid Stage on Sunday evening, the crowd reaction almost brought Maxi Jazz to tears. “I’ll remember this day for the rest of my life,” he told the audience at its emotional conclusion. In arguably the biggest show of their 15-year career, Faithless stepped up to the plate with high-octane professionalism. Sister Bliss’ keys were as unfaltering as Maxi Jazz’s moves were staggering. Even though the group’s more recent material would have been unfamiliar to many, they still had the likes of ‘We Come One’, ‘Mass Destruction, ‘Bombs’ and of course, ‘Insomnia’, to get the thousands of dance-heads into a state of joyous frenzy. It was the perfect pre-headline dance slot as the sun started making its merry way towards the horizon. (CA)

It says a lot about both Julian Casablancas’ performance on the John Peel stage and the quality of his solo work that the most enthusiastically greeted songs of his set where those written with his skinny hipster New York band of the brothers the Strokes. Opening with underappreciated gem from Room on Fire ‘Automatic Stop’ Casablancas was on stage little over 35 minutes but went on to play ‘Hard to Explain’ and ‘The Modern Age’, the majority of ‘Phrazes For the Young’ and climb the tent rigging... all in all a great performance then. (AA)

Let’s get straight to the point when it comes Stevie Wonder; the 60 year-old stole the show. Yes he played the hits but also sang happy birthday to Glastonbury with Michael Eavis and preached to the masses about the nature of god (“he perpetuates life... not destroys it” y’know); this was more than a headline slot performance. There is no doubt that Glastonbury 2010 will be remembered for Wonder on the Sunday night, not necessarily because of the standard of his performance but the fervour and passion that he dedicated to the occasion proving that he was fully aware of the magnitude and privilege of the Glastonbury’s 40th anniversary. And that was end of both a magnificent performance and an incredible 3 days- signed, sealed and delivered. (AA)

Glastonbury 2010 - Day Three In Photos