23:30

Christine and the Queens on the Other stage. Photograph: Yui Mok/PA

It’s three years since Christine and the Queens made her Glastonbury debut on the Other stage, performing in a downpour hours after the Brexit bore came through and offering a radiant blast of European cosmopolitanism to a field of damp and downtrodden Brits. Since then she’s released her second album, Chris, a more challenging record than her self-titled debut and one that didn’t quite reach its predecessor’s commercial peak. But just as it took an appearance on this very stage to mint her star, so does her headline performance tonight galvanise the field: there’s the saucy funk of Girlfriend with its outrageous body rolls, the flowing bodily undulations of The Walker, and a refresh of Paradis Perdu that swaps its original sample of Kanye West’s Heartless for Luniz’s I Got 5 on It; her clear lineage to pop history, made manifest in a brief sample of Janet Jackson’s Nasty and a stunning a cappella rendition of Bowie’s Heroes.

I can’t lie – I’ve seen her do this show enough times that I could do the choreography, and I can’t dance. But every time, it yields something new: the dances are of course choreographed, as in any high concept pop show, but the emotion always feels immediate – the pain on her face during What’s Her Face, a song about being exiled by mainstream culture, the vulnerability she exudes when she removes her shirt, faces the back of the stage and flexes her back muscles in a balletic display of strength. She’s in tune with the festival’s spirit, too – she aptly labels it “Glastonfreaky”, says she’s been craving a return ever since 2016, and clubby closer Intranquilité is the perfect bridge for those heading to the South East corner for one last night of debauchery.