Just having a look through your recent comments while i wait for the troops to make it back from Glastonbury and Knowsley Hall. Thanks, as ever, for your comments; even Madison, who appears to have spammed the recent Richard And Linda Thompsonthread with a hunk of WB Yeats. Cheers for that. Some superfans grappling with the tracklisting of that "new" Richard and Linda live album there, interestingly. Meanwhile, Rhysi has responded to my slightly conflicted Super Furry Animals preview. "They'll be transcending expectations with the other two albums they're working on," he writes. "I thought Gruff described Hey Venus! as 'middle of the road' compared to the other two...they'll never be middle of the road though will they, not even if they tried very very hard?" Super Furry Animals were actually the only thing I saw over a weekend of scrupulously avoiding the BBC's Glastonbury coverage, when they played a sweet version of "Northern Lites" in, according to Gruff, the style of Big Star. Instead I went on a bit of a Robert Wyatt binge, particularly, as ever, "Rock Bottom", then came back to 2007 with the new Caribou album. When Dan Snaith worked as Manitoba rather than Caribou, I was really taken with his "Up In Flames" album: it mapped out a kind of post-electronica course for the rearing psychedelic music of Mercury Rev and their ilk, I thought. Since he changed his name, though, Snaith has swerved away from that path a little. "Andorra", his new one, is essentially a lavish and radically improved version of the formula he started on "The Milk Of Human Kindness". Rather than spinning off from the cosmic American model, this Canadian's starting point nowadays is the more baroque, chamber end of psych: The Left Banke, maybe, and definitely lots of The Zombies. "Desiree", or at least its middle passage, could have been lifted straight from "Odessey & Oracle". Its beginning, though, is kin to Dennis Wilson's "Lady", while its ending is a spangly deconstruction of the melody, reiterating Snaith's kinship with some of the cannier electronic artists like Four Tet. Snaith's voice is no match for Colin Blunstone or a Wilson, unfortunately, and some of his slightly limpid contributions detract from the excellence of these songs, and the inventive, organic/processed productions. It's an immensely pretty album; listening to it is like admiring very intricate and elegant scenes through a thick heat-haze. Snaith has a really gushing way with a tune, as on the opening "Melody Day" (playing on Caribou's Myspace) and on the gorgeous, languid "She's The One", a duet with Jeremy Greenspan of the (somewhat overrated, I reckon) Junior Boys. He's got a really good balance between melody, atmosphere and gentle experimentation here, I think, which makes "Andorra" one of those albums which is very easy to listen to, but also one which slowly reveals itself as being built out of countless subtle, filigree textures. "Niobe" is some airy hybrid of '60s chamber psych and My Bloody Valentine that evolves into these great acid peaks. It's great.

As the sun sinks slowly into the west, we bid you a fond farewell from Knowsley Hall. We catch a smidgeon of The Zutons set -- another bunch of local heroes loved by the mud-caked audience. We're distracted, in fact, by Suggs, who shoves a much-needed beer into my hands. He's spent three days at Glastonbury. "I had a hotel room," he confides, "but didn't spend much time there. The missus was away, so I took the kids." Manfully, he and the rest of Madness put on the festival's undoubted highlight, though The Zutons certainly went down the provervbial storm. Of which, incidentally, there has been much thereof this weekend -- though the locals have braved the inclement weather with aplomb. With Keane currently putting on a fine show as tonight's headline act, it seems a good idea to drag this tired body in the direction of the nearest cab. Which, incidentally, May and I hope we find -- the eight mile walk back to our hotel doesn't bear thinking about!

Our fearless Picture Editor May Starey has been out shooting the great unwashed. Here's a selection of her best pictures...

Have been for the final wander round the immense space that Glastonbury covers, the sound of Shirley Bassey as she performs on the main stage floats across the air... I've been for my final wander across the site, with that Glastonbury last day come-down feeling, I don't really want it to end, 'cos I haven't even seen half of it. I guess that's the festivals' draw - I've been making a list this weekend of 154 things that could make up the worth of the price of a ticket to Glastonbury, assuming tenuosly that everything is worth a £1 each, - mind you most experiences that Glastonbury offers are actually priceless - but I like making lists! I'll post that up tomorrow, though for now things I have learnt this weekend include: I dont like tahini. I don't like prunes. And food is a complicated business here. Nothing comes plain and unadulterated! Mind you, it is all organic. Anyway back to Dame Shirley, she can't and doesn't disappoint, it's Dame Shirley! And she's in a big pink glittery dress. Superb. Michael Eavis himself is spotted in the crowd - he's been like some sort of barometer for good gigs this weekend. He should know, he books 'em. Expected but still great, we hear Bassey perform 'Goldfinger', 'Hey Big Spender', 'I Am What I Am' and a surreal cover of 'Light My Fire.' Bassey in fact played 'Hey Big Spender' twice, eveyone loved it so much. This afternoon, I also finally found my back to King's Meadow, I haven't had a chance to get to that part of the field since I arrived on Thursday, and the Stone Circle today was quiet and peaceful. Lots of families taking in the view, probably with the same feeling of the festival about to come to an end weighing heavy. That and the fact that packing up and going home is one hundred times harder and takes two hundred times longer than when you arrive. Fact. The Stones area features Banksy's Portaloo version of 'realart' Stonehenge. It's a place of reflection today. Am also loving the fact that the only 'branding' here are slogans against war, againt litter and hints on how to halt climate change before the world ends. Favourite sign spotted tied to a tree so far was "If you don't need it , don't buy it." It's nice though that everything blends in, noone is forcing their views on you. You do appreciate though, that there are bins within five yards, whenever you need one. And they are colour coded for plastics, cups and food. It has been a remarkably tidy festival. I'm impressed that festival goers can be so grown-up with their waste automatically. The Green Fields and Healing Fields were also amazingly chilled today, a bit too late to discover that you can make stone scupltures, wood carvings, take in an Antiquities society meeting or take lessons in meditation. Next year, of course. The Manic Street Preachers are on now, just heard them start with classic oldies "You Love Us" and an extended version of "Motorcycle Emptiness" and "You Stole The Sun From My Heart" - sounds like it's gonna be an amazing show. I better get out there. Kaiser Chiefs, and The Who are still yet to play to finish of 2007's Glastonbury in style. I'll report back on them in the morning. Hope you've had a good Glasto. Mind you if you've already read my ramblings, you probably weren't splattered in mud down here. Computers are so not in the spirit of things down here. I hope I've managed to convey a small bit of the atmosphere... There's no where in the world quite like Glastonbury. It's been vast.

It's quite a trudge up to the Pyramid Stage, so deep and sticky, but I don't mean to bore you with mud stories - Mike Scott's Waterboys have just finished their third performance at this year's Glastonbury festival... and even though the Pyramid stage wasn't exactly heaving - it is Sunday morning, and everyone is flagging a bit - they put in a jigging good gig. Joined onstage by current Waterboys Steve Wickham on the fiddle, Damon Wilson on drums, Mark Smith on lead guitar and Richard Naiff on piano and organ, they played several tracks from the new album 'Book Of Lightning'. All of which blend seamlessly in with the older stuff. From the new material, I really liked hearing 'Sustain' live, and 'Love Will Shoot You Down' was emotionally blinding - it's now firmly my favourite from the album. Naturally, they played 'Glastonbury Song' in amongst their hour long set - how could they not! And 'Medicine Bow' went down exceptionally well with the crowd too, there were massive cheers when Mike Scott strummed the intro. As the sun made it's first appearance of the day - obviously it's having a lie-in today - Mike Scott stopped before the final song to shout out to the crowd: "Did anyone see Iggy play last night? Iggy, this one's for you! Fisherman's Blues." By the time the Waterboys' classic gets closer to the end, Mike Scott and Steve Wickham are twirling simultaneously as they play. Scott then demands the audience to do the same "On My Count, 1,2,3" - not that they need much demanding. What a sight, a couple of hundred people spinning in circles in the mud. As it's the final day, and I still haven't found any healing or spiritual awakeness, I'm gonna head up towards the Avalon field looking for some of those Hare Krishna holy beads that I've heard are on offer...

Closing day of Glastonbury is well underway, and the rain has been set at 'fine trickle' since about 2am. Today will see Dame Shirley Bassey do her big numbers on the Pyramid Stage - on a Sunday billing that also includes Manic Street Preachers, Kaiser Chiefs and The Who, who are straight on to the site from headlining Knowsley Hall up in Liverpool last night. For more details check out the Bonner's report on Townshend and Daltrey's show here on the festivals blog here at www.www.uncut.co.uk/blog/index.php?blog=10&title= Forgot to mention yesterday that I caught a bit of Modfather Paul Weller, the sun shone on 'Wild Wood' for the Pyramid Stage festival sing-along. Great that he treated us to Jam tracks 'Thick As Thieves','Running On The Spot' and rabble rousing crowd pleaser 'Town Called Malice' was a tip-top finale. Off to see The Waterboys now, Mike Scott and co have actually played headline slots for the past two nights running, that is stamina! Today, however, they play a daytime slot over on the Pyramid Stage - I'm off to check it out now. Incidentally, in Pete Doherty Watch, apparently the rumoured Barat/Doherty reunion is off. But Doherty has been wandering round backstage like a minstrel with a guitar strapped round his shoulder. He's also been drunkenly riding a bike. Check out the NME picture gallery at www.nme.com/festivals/glastonbury

OK, it's getting very exciting backstage. The biggest tour bus in the world has just hoved into view, and a suited chap, who looks like he probably knew the Krays back in the day, is purposefully standing in front of the door. Someone's just passed me The Who set list -- 20 tracks. I'll post back immediately after they come off stage, around 11pm. Meanwhile, I've been out in the crowd, just as the rain starts coming down. The Coral played a pretty raucous, rough-rounnd-the-edges set,which contrasted nicely with The Thrills (pictured below) earlier, who I felt were too polished. This kind of music needs a bit of ruffing up. The Coral certainly got things moving, particularly a song that sounded suspiciously like The Supremes' "My World Is Empty Without You". Anyway, the site is pretty full now, and despite the cloud and concerted attempts at rain, spirits are admirably high, people dancing, as it traditional, in the mud dressed completely innapropriately. The number of heels, short skirts, t-shirts and even Birkenstocks beggars belief, even if it is June. Anyway, got to go and get a good spot for Roger, Pete and the chaps. More later.

Apologies for late posting, but got carried away round at the Other Stage, there was a nice run of back-to-back bands that it would have been churlish to try and wade back to the press area. Scottish rockers Biffy Clyro were as good as I'd hoped they'd be. The trio's debut Glastonbury show was a quick stop off in their newly glamourous itinerary -they just opened for the Rolling Stones in Barcelona, and tonight they play with Muse in Paris. But while they were here, they certainly kicked a bit of rock in to the day despite the rain that was still falling as they took to the stage. Front man and singer Simon Neil made a joke by saying: "Fair play to you guys for having a good time in the fucking rain. When everyone dies God is gonna give you a handjob." Biffy played several tracks from their latest number two charting album 'Puzzle', including 'Whose Got A Match', 'Love Has A Diameter' and a great version of 'Living Is A Problem Because Everybody Dies' gets the front of the crowd up-n-moshing. After a quick nip to the loo (well, I say quick, but now that everyone's on site for the weekend, quick now equals 30mins), and a wander over to the Glade area at the top of the Other Stage, Lovefoxxx brings on CSS, her multi-couloured Brazilian beast of a band that are definately worth getting wet for. The red, green, yellow and blue helium balloons that filled the stage and th colourful outfit that Lovefoxxx was adorned in, certainly made everything seem sunny, regardless of what the clouds were doing. Stage diving twice during the band's set, she even lost her yellow headband in the throng of the finale of 'Let's Make Love And Listen To Death From Above.' CSS played through all of their 2006 self-title album's highlights including 'Alala', 'Meeting Paris Hilton' and 'Alcohol.' Lovefoxxx is sexy and she rocks. And about 10,000 folk in a field look like they agree. Following on from the confident colours of CSS, Klaxons came on to play their second show of Glastonbury weekend. They played the Dance Tent late last night, and to be honest were looking a little tired and worse for wear backstage before their performance today. However, the boys did good, bassist Jamie Reynolds coming on to announce "If you're not at the Other Stage at this time of day, you're not coming in!" before they launched into first EP track 'The Bouncer.' Midway through their show, after playing their mammoth can't-go-anywhere-for-hearing-it-hit 'Golden Skans' James frontman Klaxon announces that playing Glastonbury is very special for them. Having met in a tent "somewhere over there (- Jamie points across to the back of the field -) three years ago." They end their mini-daytime-guitar rave with latest single and original Paul Oakenfold house track 'It's Not Over Yet.' Which causes a mini stampede down the front, what with all the colourful brollies in the way. On the way back I noticed a funny sight - a festival stall that's completely run out of wellies due to demand from people's muddy feet - methinks though someone over ordered this batch of lonely looking pink flip flops - they'll never shift these! Paul Weller is about to go on at the Pyramid Stage, and I'm getting hungry too. Still got plenty of gems in the itinerary for tonight, I'll check in with you soon as I can. Yours swilling in mud

"Don't start! This is my best shirt. And me mum's dead..." These, you should know, are the first words I hear as I enter Knowsley Hall's 35,000 capacity festival site. They come from Pete Wylie, who's clearly taken some kind of umbrage with a heckler. Leading The Magnificent Wah! And The Secrets Of The 42nd Dimension, or whatever the latest permutation may be of his long-standing outfit, Wylie is dressed in what appears, from this distance at least, to be a Nudie shirt, and sports a greying goatee beard. He leads his band through spirited renditions of some of Wah!'s finest moments, from the debut single, "You Better Scream" and the 25-year-old "7 Minutes To Midnight" as well as "Come Back", "Sinful" and, of course, a rousing "Heart As Big As Liverpool". He's followed, shortly after, by Shack, more veterans of the Eighties' Liverpool scene, whose earliest incarnation, Pale Fountains, recorded one of my favourite singles -- "Jean's Not Happening". Shack are masters of big, Northern guitar anthems, you can hear flashes of everyone from The Las to Oasis, Stone Roses and Doves in their songs. But I always found Shack's songs a little more textured and nuanced than the plodding verse-chorus-middle eight-chorus of, certainly, Oasis' later songs. Proving a point, there's even a flute player. As befitting a band who once backed Arthur Lee, they deliver a fine version of "A House Is Not A Motel". You sense the old guard of the Liverpool scene is planning something of a weekend of it -- tomorrow, we get the Icicle Works. Oddly, perhaps, there's no sign of Echo And The Bunnymen on the line-up. Oh, well. Check back later for more blogs from Knowsley Hall -- including The Who.