Alessi Rose’s debut performance at Glastonbury can only be described as a moment of pure exhilaration. At just 22 years old, she is rapidly establishing herself as the pop star she always dreamed of becoming. In the past two weeks, she has toured alongside Dua Lipa and released a catchy new single titled “That Could Be Me,” a funky, flirty tune reminiscent of “Teenage Dirtbag.” Dressed in a stunning white lace mini dress, she energetically skipped around The Other Stage, letting the wind play with her auburn-dyed hair. Following an electrifying rendition of “Eat Me Alive,” she paused to soak in the applause, having poured her heart and soul into her performance.

Worthy Farm is sizzling this weekend, with temperatures soaring to the point where complimentary sunscreen is being distributed for the fair-skinned festival-goers. The indie-pop sensation Japanese Breakfast, led by Michelle Zauner, recognized the heat during her early afternoon set on The Park Stage. She playfully addressed the crowd, saying, “I know you’re tired and it’s 2 p.m., but can we all jump for this next song?” The audience largely complied, although the set encouraged more of a gentle sway, particularly during the dreamy tracks “Road Head” and “Be Sweet.” Their performance served as a lovely and gentle way to kick off a long day filled with festivities.

After weeks of speculation, the legendary band Pulp was finally unveiled as the mysterious act known as “Patchwork” on the Pyramid Stage during the late afternoon on Saturday. Having headlined the festival back in 1995 and made a surprise appearance in 2011, this main stage performance came just weeks after the release of their first new album in a decade, titled More. They reminisced about their iconic headline moment and the last-minute nature of their booking 30 years ago when they stepped in for The Stone Roses due to injury. However, this time, they showcased a fresh and modern sound with new songs like “Spike Island” and “Got to Have Love.” Maintaining the energy, their final song “Common People” coincided with a breathtaking fly-over by the Red Arrows plane troupe, creating a truly unforgettable moment.

The Australian punk band Amyl and The Sniffers communicate their messages with both candor and warmth. During their set on The Other Stage, vocalist Amy Taylor took a moment to acknowledge not only the plight of the Palestinian people but also the indigenous populations of their home country. She emphasized that speaking out during these “f—ed up times” is not just a choice but a matter of survival. Particularly in an era dominated by artificial intelligence, she declared, “Buckle up b—-es, things are about to get weird.” Their dynamic set featured songs like “Tiny Bikini,” “Angel,” and “Doing in Me Head,” showcasing their unapologetic embrace of individuality and humanity.

True to their musical style, the punk duo Bob Vylan exhibited a unique blend of boldness and vulnerability during their performance. Arriving on the West Holts Stage dressed in matching cream Fred Perry polos, lead singer Bob Vylan (not his real name) encouraged the sweltering crowd to participate in five minutes of yoga and meditation. However, this state of tranquility was short-lived, as the band quickly transitioned into their electrifying tracks like “Ring the Alarm” and “We Live Here,” dedicating their poignant song “Pretty Song” to fellow artists such as Fontaines D.C., The Murder Capital, and Amyl and the Sniffers, all of whom have consistently voiced their support for Palestine.

Arriving amid controversy, Kneecap made a significant mark during their much-anticipated takeover of the West Holts Stage. They combined calls for Palestinian solidarity with sharp critiques of the British government. The trio seemed genuinely awed by the size of the crowd they drew, as the stage was closed off 45 minutes prior to their performance due to overwhelming demand. Their exhilarating track “Rhino Ket” ignited mosh pits in the front rows, while vibrant red and green flares filled the air, creating an electrifying atmosphere. Their arrival at Worthy Farm was not just a headline-making moment; it was a celebration of energy and collective spirit.

Saturdays at Glastonbury are renowned for their lively party atmosphere, and while heavier beats resonate throughout the site in the evening, Father John Misty provided a refreshing touch of class with his performance on the Woodsies Stage. Acknowledging that some in the audience might have over-indulged on previous nights, Misty, whose real name is Josh Tillman, delivered a stylish hour-long set. Featuring a mesmerizing nine-minute rendition of “Mahashmashana” alongside “Cleaning Up,” he managed to get the crowd dancing without relying on flashy visuals or electronic beats, showcasing his exceptional talent and artistry.

Originally slated to perform right before Charli xcx on The Other Stage, Deftones had to withdraw last minute due to illness. Enter UK grime legend Skepta, who graciously stepped in to deliver a 30-minute set devoid of elaborate visuals or production—just pure talent. A series of his greatest hits followed, including “That’s Not Me,” “Shutdown,” and “It Ain’t Safe,” the latter being dedicated to the “beautiful people of Glasto.” This impromptu performance became a memorable highlight of the festival.

Rarely do new artists make their debut in headlining slots on major stages at Glastonbury, but Doechii’s rapid ascent in the music industry warrants such recognition. Taking the stage at West Holts, Billboard’s Woman of the Year presented a captivating six-point lesson dubbed Doechii’s “School of Hip-Hop.” This 45-minute sensory experience was filled with chart-topping hits like “Anxiety,” cult favorites such as “Alter Ego,” and her standout track, “Denial Is a River.” It was a breathtaking debut that drew a massive crowd, leaving many wondering if a future Pyramid Stage performance is on the horizon.

Over the past year, Charli xcx has ascended to a new height in her career, commanding a packed The Other Stage with little more than intense stage lights and a booming bass. The tracks from her UK chart-topping sixth album, Brat, resonated perfectly with the Saturday night crowd, offering a blend of shiny, chaotic, and electrifying pop that encapsulated the essence of nightlife fantasies. “This is for my people who are heading to Block 9 tonight!” the self-proclaimed “365 party girl” shouted before diving into “Club Classics,” energizing the audience for a night filled with uncomplicated joy in the heart of the South East Corner.