The US rap star headlined the main stage on the last night of the festival, while Pet Shop Boys, Charli XCX, Jarvis Cocker and a host more brought the festival to a close
Much has been made of the advanced age of some of this year’s Glastonbury stage headliners, as if this represented some kind of lack of imagination on behalf of the bookers. But that limited mindset discounts the massive contributions that these venerable artists have made to pop history, not to mention the continued pertinence of the most vital among them.
Oddly, it takes a while for Chris Lowe to appear on stage. “The other one will reveal himself shortly,” Tennant says before their mash-up of U2’s The Streets Have No Name and Can’t Take My Eyes Off You, though it still takes a while for his fabulously petulant foil to appear. There’s no explanation for his absence other than a “technical hitch”. Regardless, Tennant’s evident delight at the euphoria they’re greeted with makes up for Lowe’s initial absence.
Personally, I think the PSBs remain underrated, a lesser-celebrated act of their era; I’m 33 and I didn’t really grow up hearing their songs. Tonight feels like a national reclamation of the synth-pop heroes, which Tennant seems to recognise. They are such masters of duality: Left to My Own Devices switches between frenzy and dreaminess; Domino Dancing is intermittently warm and sad; Losing My Mind is at once uninhibitedly sexy and entirely possessed.
There are rumours that they’re going to bring Kylie Minogue on, though the only guest we ultimately get is Olly Alexander of Years and Years for Dreamland, one of their better latter-day songs. His voice is a little insipid next to Tennant’s worldly brogue, which reels with disgust during the sardonic It’s a Sin, and purrs during the fabulous Shep Pettibone remix of West End Girls . It imbues their set with both experience and tenderness, a sense of hope juxtaposed with thwarted reality.
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