Glastonbury 2022: Sunday’s build up to Kendrick Lamar, with Diana Ross, George Ezra and more – live | Glastonbury festival

Sophie Zeldin-O’Neill

Pyramid ground post-Diana is covered in detritus of sequins, feathers and confetti.

The Pyramid stage after Diana Ross.
The Pyramid stage after Diana Ross. Photograph: Sophie Zeldin-O’Neill/The Guardian

Diana Ross: snap verdict

We were promised a legends set, and a legends set we got! While there were a few grumbles at Paul McCartney picking a few deep cuts for his Pyramid set last night, you can’t imagine anyone will feel the same here. Ross delivered every last biggie – I’m Coming Out, Upside Down, Baby Love, Ain’t No Mountain High Enough, and of course I’m Coming Out. Yes, her tuning was a little askew at times, but her sheer force of character won the day.

I Will Survive is still going, with Ross introducing her impossibly tight backing band and singers. And just like that she floats off into the wings, leaving her band to play the closing notes!

“I love how Diana has her own Hollywood star projected on to the stage backdrop,” Sophie Zeldin-O’Neill points out. Top, top diva behaviour.

“Do you know this one?” Ross asks, as the opening bars of I Will Survive play. Yes, I believe a few out there may be familiar with it, Diana. Every last person – revellers, stewards, ice cream sellers – sings along.

Ain’t No Mountain High Enough! It sounds absolute huge from the Guardian cabin. Ross, now clad in a vast feathery floor-length robe, stomps across the stage commandingly.

Ross’s cover of Why Do Fools Fall in Love injects a note of big-band classiness to proceedings. And then the pace slows entirely with the ballad Theme From Mahogany (Do You Know Where You’re Going To). Ross’s voice is a little exposed here, and tuning is an issue again. But we’re not going to talk about that!!

Ross’s 1995 track Take Me Higher is next. It’s a mark of how well this set is going down that even the slightly lesser-known tracks are getting everyone dancing.

“I’ve just celebrated my birthday,” Ross says. She’s 78 years old, somehow, but is grooving back and forth like it’s 1975 again.

And then she casually drops Upside Down. Even the stewards are dancing along! It’s just hit after hit after hit here.

Diana leads the crowd in a swoonsome rendition of Still Waiting, cutting the band midway through so it’s just her and them. “We love you so much, you’re so wonderful,” she cries.

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