Hangovers, fatigue and accumulated sweat were put aside for one more day in the sun, with the Cure delivering an epic final headlining set.
Miley Cyrus proved her rockstar worth, with a set that featured everything from Old Town Road to Nine Inch Nails, via a lot of swearing.
Opening the day were the Langa Methodist Church Choir, a Cape Town choir whose grace and beauty soothed many a sore head first thing in the morning.
It was a moving performance for Kylie Minogue, who was forced to cancel in 2005 due to a breast cancer diagnosis, and had never returned until now. “Never mind the legends slot; next stop, headliner,” said the Guardian’s deputy music editor Laura Snapes.
Janelle Monáe and Billie Eilish tore up the West Holts and Other stages respectively.
Looking down over the Shangri-La area: Glastonbury’s far eastern corner where activists, ravers and the very, very lost congregate for mind-spinning happenings.
Cutesy-slash-terrifying Japanese band Babymetal astonished on the Other stage, with their high-intensity, high-glucose take on metal.
Dave, who made one audience member’s dreams come true with a chance to guest on the mic; and Years & Years, who brought pure pop and queer energy to the Pyramid stage.
In the early hours of Sunday morning, Mark Ronson brought his Club Heartbreak concept to the Stonebridge Bar: melancholy yet uplifting dancefloor bangers to – paradoxically? – cure you of a broken heart.
Come the morning, Glastonbury was back to its usual self: sitting thoroughly outside of mainstream life, and always for the better.
As everyone was contemplating their first cider of the day, the Guardian’s very own Kate Hutchinson played an early set at the Beat Hotel.
As you read this, the tent city is being dismantled for another year – but ready to rise again for Glastonbury’s 50th anniversary. See you down the front for – we hope – Madonna, Elton John and Fleetwood Mac?
Ben Beaumont-Thomas is music editor of the Guardian