Olivia Rodrigo leaves Glastonbury on a high, with The Cure and Colin The Caterpillar

Glastonbury saved the last ‘to the end of the Muzaffer, founded by American star Olivia Rodrigo to close the pyramid scene of the festival.

After the structure and intensity of the previous ceiling tiles, 1975 and Neil Young passed through a series of crisp, Punk-Pop Anthem and sincere Ballads about the injustices of 22-year-old young love.

Marks and Spencers’ Colin The Caterpillar captivated British fans by defending their love for desserts; and Cure’s Robert Smith (“Maybe the best songwriters from England”) won the Glastonbury veterans.

“Glastonbury has been my dream festival forever and I can’t believe the day today,” he lays.

The Set was a crowning moment for the singer who only launched the driver’s license, only the first single, five years ago.

Balad, a desperate scream of loneliness, broke Spotify’s records in just 24 hours. Then he broke them again.

Seven days later, he entered the number one in the UK and the United States lists and launched the singer instantly from Disney player to full -fledged pop star.

The drivers license used him as a “sad piano girl” in the public imagination – but this image quickly configured the dynamic, guitar heavy pop marches built by Joan Jett, Alanis Morisette and Avril Lavigne.

The Glastonbury set was the sound of Crunchy Olubness Riffs, a self -mocking song about his jealousy; And the semi -autobiographical diary of a girl studying at home.

Wearing a white lace corset and knee -length buvver boots, he took a high boat on the stage and broke the crowd into a madness.

“How do we do Glastonbury tonight,” he shouted. “I don’t think I’ve ever seen so many people in my life.

“Children, the last night of the festival. Are you ready to have some fun?”

He throws the question to the driver’s license and cuts it slightly – but he had a common sense of catharsis by returning his lyrics while watching the army of young fans.

The rest of the set balances his rival impulses: rock chick, singer-verse writer, Rabble Rouser, hard feminist, sincere Baldeeer.

But first of all he is a music fan. Rather than a pop contemporary like Harry Styles or Lorde, the decision to perform a duet with Glastonbury Senior Robert Smith flowed directly from the British pop love of the 80s.

When Cure Classics played on Friday, I am in love with and continued to look at Smith, just like Paradise, and he could not believe his luck.

He added small harmony to the songs, decorated without disrespect – and Smith seemed to be as popular with Rodrigo, watched the rest of his set from the wings of the Pyramid scene.

“He’s the most beautiful, wonderful man so far, and I’m honored to play with him tonight,” he gushed.

This innocence worked in his favor. For the audience, he often felt like watching my cool sister (or early young girl) on stage rather than an untouchable pop star.

Moreover, Rodrigo’s usual pop star did not need any of the scenes. There was no choreography. There was only one costume until Encore. All you needed was the songs and her pin Keskin, the whole group of women.

When introducing the new Wavey So American, he fascinated the audience even more – a song about the inner jokes he shared with a British boyfriend.

“I love England,” he said. “Nobody loves to judge you for drinking a glass of noon.

“Real story: I have had three sticky confectionery pudding pudding since he came to Glastonbury. And I love British men, as you have luck.”

England returned, saved his biggest reactions for Encore – ruthless, All American Bitch, Good 4 and take it back.

He left the scene under a fireworks because the swellable balls jumped around the audience and our ears steal with feedback.

It was the best (and best participation) title set of the weekend.

Olivia Rodrigo understood the summary: Bring the hit. Make it unique. And personalize.

Maybe he learned from Jarvis Cocker, whom he watched on his shoulders on Saturday.

“You have to submit to him to enjoy Glastonbury,” he recommended.

Rodrigo channel this spirit from birth. It is always welcomed again.

In the early hours of Sunday, Selec opened the last day of music on the Pyramid stage with an energetic punched SKA anthems set.

Singer Pauline Black, a former NHS worker, told his colleagues that we thanked them when we needed their help for “all these knees and all the future hips that are not so far away”.

And the crowd carried him on the radio, the biggest hit of the band because his voice cracked on high notes.

“As you can understand, my voice hurts,” he explained. “Will you help me?”

They didn’t have to ask twice.

Celeste took our breath in an angry voice than Floaty jazz-ruh of his first exit.

The singer who won the BBC’s 2020 sound took five years to follow the Graphic Hill album, not Muse Your Muse, but the audience said, “Everything happens when it should be.”

On the basis of every day – Vegas’s 1999 dance Hit Dirge is a paranoid runway, which is built around death, is worth waiting for a new material.

In addition, the preview of the new material was London Soul-Pop singer Joy Crookes. Wearing a stunning pink and green yellow, the last Single Pass The Salt and Carmen’s head grooves were greeted like Amy Winehouse last day.

The most important feature of the set was the only new perfect crime – with such a clean choir after a crowded avoidance.

After an unexpected nostalgic set from Libertines, the Pyramid stage of the Rod Stewart prestige “legendary nest”.

In full lounge lysard style, do or thought I was sexy, Maggie may stole large band arrangements, and the first cut is full of deepest, bubble blonde support vocals and endless saxophone solos.

Although he promised to “get as many hits as I can,” the set made a shaky start with several less known numbers.

However, he found that he was with some men in 1984, and then he was shot after the music box was shot. Ronnie Wood appeared for a duet for Chummy to stay with me (an obvious emphasis) before closing Stewart’s set with a sea Singalong.

Nil Rodgers and stylish, to be said to be said, made a big crowd for the disco anthems.

The song options were perfect until Chic’s songs from Le Freak and Good Times to Rodgers’ songs for Bowie (Let’s Dance, Modern Love) and Madonna (virgin, material Girl) in the 80s.

While playing, one or two channels flew on the pyramid scene and drew a smiling face and a heart of love in the sky. It could not be in a better time.

On the Woodsies stage, Aj Tracey gave a masterclass in crowded works.

“I wanted a Mosh pit from you, and I won’t lie to you, weak,” he scolded, promising to give something to the crowd to really get into his teeth.

At this point, Ainch, the couple’s 2020 cooperation Rain appeared on the stage.

To say that the energy listed will be an equal deficiency by saying that the surface of the sun is a bit hot for touch.

The set continued with a clutch of the UK rap marches – Ladbroke Grove, Thiago Silva, Kiss and Tell – turned him into one of the most sweaty shows at the weekend.

Among the other remarkable sets on the last day of the festivals, Prodigy, who dedicated his sets at the other stage to Late leading Keith Flint; And Jorja Smith provides a sedative series of British spirit for more tired entertainment of the festival.

Wolf Alice gave a satisfied cover of Fleetwood Mac’s dreams on the other scene, but friendship that sent the audience to Rapture was Bros.

Old friends, the best spouses and newly found friends hugged each other and swung crazy to avoid the song “Me and You”.

The band played only two songs from their highly anticipated album The Clearing – but Lead Single Bloom Baby Bloom treated like an old friend.

The new material is more angular, more faced than previous work; And the chief singer Ellie Rowell seemed to enjoy her new confidence as a front woman.

After The Sofa, the delicious love song, The Sofa, he poured a bottle of water on his head, shook droplets, caught a megaphone, and screamed the highest, most punk song Yuk Foo and Greatest Hits.

When Glastonbury returns in 2027, wait for them to see them at the top of the bill.