Glastonbury live updates: What time is Dua Lipa on the Pyramid Stage and how to watch BBC stream

Following Marina Abramovich’s seven-minute silence, the latest stage in the rock artist’s Bowie-esque revolution reaches its immersive conclusion, writes Mark Beaumont

Addressing the audience, some of whom waved Palestine flags, Albarn told them to show how they felt about Palestine, amid Israel’s continued attacks on Gaza following the October 7 terror attack.

“Are you pro-Palestine?” he asked, to huge cheers. “Do you feel that’s an unfair war?”

He continued: “The importance of voting next week… now, I don’t blame you for being ambivalent about that but it’s still really important. And thirdly, maybe it’s time we stop putting octogenarians in control over the whole world.”

Paul Mescal shared a selfie with his All of Us Strangers co-star Andrew Scott, as the duo prepared to take part in a talk after a screening of the film with director Andrew Haigh.

Scott will also appear onstage to introduce Vanya tomorrow at 12.30pm.

As a sun-blasted Park Stage crowd sways to the languid dance anthems of Barry Can’t Swim, London DJ Kate Hutchinson courts nearby Stonebridge Bar with a more obscure (and perfectly Glasto) proposition: one hour of club-crashing Yoko Ono remixes.

Hutchinson’s arms-in-the-air moves and earworm assaults – setting the avant-garde icon’s yells and radical mantras to trance, house and reggaeton – attract a fleet of fist-pumping shade-seekers and ravers, perhaps bewildering a few Ono-heads in the process. She has us crouch on command and jump for a spangly drop, cuing pandemonium for a finale of Give Peace a Chance (techno version, naturally).

“This has been the first ever Club Ono,” Hutchinson declares, nodding to the Tate Modern Presents series of events around its current Ono retrospective. After leading an Ono-inspired collective scream at the Park Stage earlier today, Hutchinson scores another roaring success.

A few lead critics including the BBC’s Mark Savage and Pete Paphides tweeting that they couldn’t get into Sugababes earlier due to those huge crowds.

“They’ve closed the entire area around the West Holts stage because of the amount of people who want to see Sugababes,” Pete writes.

“Same happened for their Avalon stage set in 2022. It really needs to be more widely acknowledged that they’re one of the toppermost adored groups of their era.”

Mark says: “Once again, my ambitions to see Sugababes at Glastonbury have been thwarted. It’s one-in and one-out at West Holts right now, and the queue is huge. They should do the legend slot next year.”

Again, you’d think Glasto organisers would have learnt by now…

Patrick Smith is at the Pyramid Stage watching PJ Harvey and says it’s like “night and day” in comparison to the huge crowds drawn to Sugababes on West Holts earlier. “So much space, basically empty,” he says. “Everything else totally rammed. Feels very significant in terms of who’s attending now.”

The Vaccines have always, to their credit, been a band with an immediately identifiable sound. The English indie rockers have put out five full albums since their zeitgeisty young-millennial classic, 2011’s What Did You Expect From the Vaccines?, but that sound has, for better and worse, never really changed.

“Post Break-up Sex”, “Wetsuit”, “If You Wanna”; the Vaccines’ Woodsies performance was a set that really came alive when they played the oldies (such as they are), and the group still sound generally crisp and energetic. When they dipped into more recent fare, you could feel the energy in the crowd start to fray. Overall: pretty good!