Sunday brings Laura Marling, disco Chic, the return of Shaggy ... and a heritage tour with Bee Gee Barry Gibb. Join us for the best of Glastonbury 2017´s final day 12.49pm BST It must be tough being a cool band - when people look up to you, they can so easily also feel looked down upon. But Phoenix manage to be both utterly, ridiculously debonair and also human. Coming on stage after a 30-minute wait for some kind of tech to be fixed, some of the fairweather fans have left, leaving a surprisingly ardent and mosh-friendly collection of Tinder-friendly millenials; the band´s stage setup, with a mirror inverted above them reflecting a light-up floor, will have launched a thousand Instas. Every so often they teeter on emptiness as on Ti Amo´s blustering cocaine-headache, but much of it is wonderfully slick - like good dancemoves rather than oil. Lasso is whip-tight and melancholic, J-Boy is all yacht-deck swagger, and Role Model proves to be a strong new ballad. Their boyish singer Thomas Mars launches himself at the front row, singing songs hunched over fans´ upturned faces - an image that shows there´s real warmth in their cool. 12.43pm BST Foo Fighters let off fireworks and let their tousled manes fly, but our reviewer - and one-time diehard Foos fan - Kate Hutchinson remained relatively unmoved: Related: Foo Fighters at Glastonbury 2017 review - rockers cruise to middle of the road Just down the road from the metal arachnid-based nightmare that is Arcadia is the Park stage, a hub of niceness flanked by the double whammy of a book store and a tea and cake cafe. Arriving to play up to that sweetness and light for Saturday headlining duties is Warpaint, the LA group with a neat line in pleasantly dissonant post-punk. Kitted out in predictably hip style - including singer/guitarist Emily Kokal sporting the biggest white shirt known to man - the foursome are the height of sultry sophistication, shrouding disco grooves and punk whininess in a mist of spacey atmospheri ...
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