The Gods of Glastonbury are smiling down on us today. 'Mild weather and some rain' is what we were promised. Instead, the thousands at Worthy Farm have the pleasure of drying out their trench-foot and focussing their pain on magnificently excruciating sun-burn. We're burned red-raw and ready to go. The Rolling Stones are just a few short hours away as the rest of the bill absorbs the excitement.
It's an Australian cliche I know, but everywhere they go, Jagwar Ma seem to take the weather with them. As the sun bakes the Glastonbury mud into a solid clay, the Aussie duo blast a burst of sunshine across the John Peel tent. The reaction to 'Man I Need', 'Four' and 'The Throw' demands a much larger audience on a much bigger stage, but for now they fit the context perfectly. In a space where psych sounds meet electro, drowned in surf-pop mixed with some phat, phat bass, Jagwar Ma live up to memory of the stage they stand on and show themselves as exactly the kind of band that the late great John Peel would have championed. The only shame is that it feels far too early in the day to dance this hard.
Then came Dry The River on The Other Stage. Playing their second set of Glasto 2013 after their triumphant surprise set on Thursday night, the rising folk stars topped themselves with the kind of gig that Eavis family dreams are made of. The sun is shining, spirits are high and Dry The River are delivering the kind of classic open-road rock that the hallowed fields of Worthy Farm want to hear on a day such as this. Clearly humbled by the bronzed masses that gather to greet them, they tell tales of playing at boutique festivals and only ever dreaming of being on a stage such as this. But to witness this, you know it's not enough. With grace and integrity, may they follow a similar ascent to Frightened Rabbit and enjoy a steady ascent to the recognition they deserve.
Jagwar Ma, by Lucy Bridger
Azealia Banks is an insane genius. She's brilliant - deal with it. Put aside the headlines and the controversy and what Glastonbury is present with today is an eccentric artist with her heart set on the throne. Decked out in a pretty out-there green jump suit covered in conical garb, Banks dominates the stage with her two 'ballet' dancers in matching attire. With sass, swagger and a whole lot of attitude, Banks makes Glasto feel gorgeously grimey as 'Jumanji', '1991', 'Liquorice' and 'Yung Rapunxel' see sweaty swathes krunk like there's no tomorrow - and then come '212'. You nailed it Glastonbury. Thank you Azealia Banks.
Devendra Banhart's crazy loyal following (mainly adoring females) flocked to the beautiful setting of The Park stage for a late afternoon of free love and good times. Joined on stage by The Strokes' Fabrizio Moretti, Banhart's fanciful rock was charged with the trademark frenetic dance beats of New York's finest. A true Glasto highlight.
Davendra Banhart, by Lucy Bridger
Immortal living legend Elvis Costello gives the Pyramid Stage it's first taste of what it takes to be a real icon before Alabama Shakes bring a little bit of good old-fashioned American Country to Worthy Farm over on the Other Stage, unfortunately followed by Two Door Cinema Club. While their short, sharp blast of sweet summer pop is just enough to see thousands off their wellies and dance into the early evening, it ultimately feels a little cold after countless near-identical songs of a sound best left in 2005.
"Oh good, flags obstructing my view," said no one, ever, before adding: "Oh I do love this song - I can't wait to watch it through your camera phone. I'm sure that your footage will surpass that of the BBC."
And so it goes, the casual masses make pilgrimage to the Pyramid for what's billed to be the headline set of the summer. For that reason, the atmosphere is more that of a tourist attraction than a Saturday night at Glasto. Hoardes have camped out for hours to clog up all routes everywhere. But the second that Mick Jagger and co step out on stage to a reception of religious raptour, you realise that's because they're the everyman band. They define rock, and tonight they're hell-bent on reminding us exactly what that means.
"Hello Glastonbury," struts Jagger with that trademark pout. "They finally got round to asking us to play." Indeed, it's hard believe that they've never trodden the boards of this iconic stage before - but this was the gig they were born to play.
The Rolling Stones at Glastonbury 2013, by WENN
One might forget how many essential moments the band have had, but no other band can boast the calibre to kick off with the magic of 'Jumpin' Jack Flash' into 'It's Only Rock N' Roll' into 'Paint It Black' into 'Gimme Shelter' (aaaand breathe). Then came the amusing but disappointing ode to Worthy Farm, 'Glastonbury Girl'.
'Start Me Up' was pretty special, and the glorious run-through of 'You Can't Always Get What You Want' and '(I Can't Get No) Satisfaction' before a firework finale and a firebreathing robot bird will be forever burned into the memory of all present, but there's something missing - some kind of spark. At times it's a little self-indulgent, but when you're the Rolling bloody Stones I guess you can afford to be. They look and sound amazing, and it was only ever going to feel awesome - it just doesn't seem quite as monumental as we'd hoped.
Below - Photos: 11 awesome shots of The Rolling Stones at Glastonbury