Glasto trivia fact number 532: before Saturday night's Stones show which saw the audience packed right back to the perimeter fence, the largest crowd ever assembled at the Pyramid stage was to watch The Levellers in 1994.
Which, alongside their standing as among the most successful bands in the world over the past 12 months, should make Mumford & Sons the ultimate Glastonbury-friendly act.
But the festival has moved on since the crusty old days of 1994, shedding its dog-on-string, dreadlocks-and-drug dealers past and embracing the 21st century by promoting adventurous and ground-breaking headliners in the shape of Radiohead, Muse and Jay-Z. So, to find Mumfords' 13th-century farming folk slotted into the Sunday night headline slot by dint of their record sales alone actually feels like Glastonbury taking a populist back-step.
They're also trying to fill a headline set with only two albums under their rope belts – a folly which saw Arctic Monkeys stall on the same stage in 2007 - so after Saturday night's Stones set packed with decades of classics, Mumford tread the same boards with more Grammys than hits to their name. They get by on exuberance and an end-of-the-party atmosphere, despite the nagging realisation that there are 148 slightly less-produced bands of their ilk hammering orange crate basses in the back of every vegan cafe from here to the Tor.
Mumford's tourist board Irish jigs – driving, urgent and enlivened by the double bass-swinging antics of the hobo-like Ted Dwane – rest midway between David Gray and the Waterboys, and throwing their biggest tunes I Will Wait and Little Lion Man away early leaves them padding their set with a parade of epic folk crescendos, each introduced by a spot of soporific acoustic balladry from Marcus Mumford. Some hit the mark – from the drum-stool, Marcus leads a rousing chorus of Lover of the Light while the brooding Thistle & Weeds contains hints of Richard Hawley and the National. But their canon of killers is sparse and, despite a buoyant crowd keen to hoedown, it ultimately takes a gospel-backed turn through the Beatles' With a Little Help From My Friends to provide a suitable finale, said friends being Vampire Weekend and The Vaccines. Polished and well-received, certainly, but Mumford draw an anti-climactic curtain on an otherwise glorious Glastonbury.
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image: © Andrea Sartorati