Glastonbury : Other Stage (Sunday Evening)
Doves round things off in style, Grandaddy produce "a truly great performance" and Dave Gahan is a little uninspired...More on
Curiously, apart from one elfin lady, you can’t imagine anyone from Iceland making music that doesn’t sound like Sigur Ros. And if today’s dramatic-chillout axis has lacked a centre of gravity before now, they do it brilliantly. Ambient piano, washes of pastel-blue post-rock and monumentally intensity combine to meet the exact same wavelength as the festival’s tiring but blissed-out populace. Iceland can be happy with the stereotype.
Dave Gahan playing a set cribbed from his ignored solo album, ‘Paper Monsters’, would be about as exciting as, well, listening to the record itself. Knowing this, he packs in Depeche Mode favourites like ‘Personal Jesus’ and ‘I Feel Love’. And, like, obviously, a band of session musicians, though playing mighty songs mightily, ain’t a patch on the Depeche Mode themselves. So what’s the point?
After a day of training, it falls to Grandaddy to give us the day’s first truly great performance. ‘Sumday’'s beefier moments bring things to proper life, and between ‘Hewlett’s Daughter’, ‘The Crystal Lake’ and the divine, new ‘Now It’s On’, Jason Lytle packs the field with heartwarming hits. “This is the best show we’ve ever played,” he says, and he could be right. Pyramid Stage, next year – our money’s on it.
Rapture’s superslick punk funk might at first sound out of place in the fields of Avalon, but stretched out over the space, it takes on a carnival, almost jazzist quality. Things dirty up soon enough though, and by the time ‘House Of Jealous Lovers’ creaks into a, er, rapturous finale, it seems totally natural that Bez should pipe up to add manpower to the freaky dancing.
Poor The Raveonettes. They finally get a Glasto slot in the year they break, and off goes their kit, lost somewhere in transit. So there’s a brief apology and half a field full of disappointed fans.
>Damien Rice, now the UK’s most fashionable trad folkster, thanks to current album ‘O’, could draw comparisons with David Gray’s low-on-the-bill sets in previous years. Let’s hope his sturdy Celtic melodrama can avoid going down the same road, because woozy Glastonbury likes the look of him.
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