La Roux's 80s fetishism is so all-consuming that you could be watching old footage from Live Aid, but it's hard to deny the irresistible pop smarts behind Bulletproof and In for the Kill. La Roux's Elly Jackson seems to have had her hair sculpted into a scale model of Glastonbury Tor for the occasion they present the audience with a guest appearance from Heaven 17's Glenn Gregory performing their hit Temptation and, in a sight unseen since Heaven 17's Temptation was actually in the charts, a drummer who performs standing up, playing a vast synthesised kit. Two of last year's big Glastonbury success stories arrive to do victors' laps on a larger stage than previously afforded. "Give me some motherfucking pimp music!" he demands of his DJ, who immediately obliges: improbably enough, motherfucking pimp music seems to involve a steel band. And he's still capable of springing the occasional surprise. For someone once considered such a threat to the moral welfare of Britain that tabloid newspapers demanded the government intervene to prevent him from performing here, he is a remarkably engaging, slyly charming figure. On one level, his is your standard live hip-hop show – "Where all the ladies at?", "Show some love for Tupac Shakur", etc etc – but you can see why the crowd lap it up. The first huge success of the day, however, is scored by rapper Snoop Dogg, who pulls a vast crowd mid-afternoon. There was a time when no one in their right minds would have applied the adjectives gentle or soothing to the latter band, but the advancing years have audibly rendered them more sedate: they play Go Buddy Go in a manner that suggests Buddy won't be going anywhere without the aid of a mobility scooter. Friday at Glastonbury begins gently festival-goers still panicked and confused by the appearance of the sun at the festival for the first time in living memory are soothed on the Pyramid Stage by the perennial gag of Rolf Harris doing Stairway to Heaven, and on the Other Stage by the Stranglers.
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