The star of über-producer Mark Ronson's brass and strings-enhanced covers session is a pink-haired Lily Allen, who sweetly dedicates Oh My God to her recently deceased nan.

In contrast, bargain-bin Leeds lad-rockers The Pigeon Detectives possess little
charm.

The Zutons acquit themselves with a spirited Valerie that, for once, tops Ronson’s earlier, Winehouse-lacking effort.

Dance duo Groove Armada bring down the curtain on the Other Stage with an energetic set of glitterball anthems. Manish Agarwal



Sunday afternoon’s line-up is dominated by earnest white guys. Newton Faulkner proves a genial host, delivering playful covers of You Spin Me Round (Like A Record), Teardrop and even Bohemian Rhapsody in his self-described “boomdy-bappity-widdly-smack-smack” guitar style. Only an ominous hum threatens to interrupt his flow; a change of guitar proves it isn’t coming from his dreadlocks.


Next to the accomplished Faulkner, power-pop singer-songwriter Jack Peñate seems a bit of an anomaly: a major-stage act without a crowd-pleasing hit to fall back on. But new track So Near, which breezes along like a Latino Cure, shows promise, and Peñate’s songwriting stretches from ragged London indie to calypso-inflected grooves.


It is Scouting For Girls’s second Glastonbury, and last year’s experience on the tiny Late & Live stage was so affecting they have written a song about it. Full of egregious references to pear cider, the track is part of a set that largely captures the London-based trio’s infectious energy. Critics who note that Scouting For Girls’s lyrics err on the side of repetition will be interested to note that singer Roy Stride often issues stage banter in triplicate, too. Dan Stubbs



Hey, everybody, it’s Black Sabbath. Well, no, but it is Sunday and there’s lots of bands called Black Something. First up is Black Cherry’s synthesizer boogie, with lashings of murder, insecurity and raw promise. Somebody sign them soon. Black Mountain arrive with the perfect comedown to last night’s Stormy Highs: behemoth riffs from Stephen McBean, 17 minutes of Bright Lights and a conviction that the early 1970s will never go out of vogue again. We came black, we got blues. In a perfect world, they would have been on at 4am.
Hoodoo Gurus show today’s pretenders how it’s done: blamming out hit after hit – Like Wow - Wipeout!, What’s My Scene and Come Anytime (a US college No1 in 1989), before disappearing, leaving us aware we’ve just seen something special. Sophie Harris