London Grammar on their Glastonbury clash with SZA and The ...

There's such a beauty to your music, even when it's melancholy. Do you ever look out from the stage and see people making out?

Not really. I get a lot of tears in the front row, though.

How does that affect your performance? Do you absorb their emotion?

I think I do. And I think that used to contribute to my nerves. They're very emotional songs for me, obviously, and when people get emotional too, I've definitely cried on stage. And it kind of made for a good show, once or twice, but you can’t do it every night.

So now, if there's someone who’s clearly going through a breakup, I'll have to look away.

Your recent single, House, is all about drawing boundaries for yourself. What were you going through when you wrote that?

I mean, some stuff I can't tell you about! But there’s a lyric, “I cannot be invisible”, and it’s saying that you need to be your authentic self, no matter what the consequences of that are.

I mean, unless you're just like going around being a massive [expletive]. You obviously shouldn't be that. But it's about not fitting in with other people's versions of you.

You've spoken previously about the sexism you've witnessed and experienced in the music industry – but looking at the gender balance at this year’s Glastonbury do you think things are finally improving, however slowly?

I think so. Maybe I'd have to speak to younger artists who are coming up now - because I think that, when you are a woman in your 30s, you get to a place where you've dealt with it. It's more like water off a duck's back, if you know what I mean.

But I do feel that there has been a massive shift and I think it's incredible. The Glastonbury line-up is incredible, the highest grossing tour currently is Taylor Swift. I feel like female artists are being celebrated more.