It's a statement that gets repeated often, yet there is indeed something enchanting about Glastonbury. This immense nearly week-long sensory experience transforms us in ways that are hard to articulate, occurring between the opening of the gates on Wednesday and the return journey home on Monday. This elusive change is tangible in the summer air, seeping into the ground beneath us.
On Wednesday evening, the initial trickle of attendees rapidly becomes a rush as the iconic Pyramid Stage draws crowds, fading into the long Somerset sunset. Theatre and Circus acts kick things off in an intriguing way. Glastonbury doesn't hold the main stage license for Wednesdays, likely due to the patience of nearby residents only stretching so far, so it unfolds quietly. It’s a beautiful spectacle, though at times it can feel a bit detached, with the nuances not fully reaching all parts of the vast audience.
With the main stages closed, the smaller bars and less prominent areas take center stage – the layout of the site is incredibly intricate, showcasing immense detail alongside its vast size. Where else on the bustling festival circuit can you meander around a rendition of Stonehenge made from dismantled cars?
Thursday sees the energy ramping up – as you look around, the campsites grow increasingly crowded, pathways teem with people. A unique aspect of Glastonbury life is that sometimes it’s more gratifying to bypass the endless options and simply settle into an area that feels good and enjoy it. This writer has taken to heading to Strummerville on Thursdays – a great spot for emerging artists that also offers stunning views from atop the hill. Heartworms shines here, delivering her post-punk power with unmistakable intensity. Wu-Lu’s genre-blending performance gains added weight live, Maruja causes delightful chaos, and Fat Dog kicks off yet another exhilarating day of Glastonbury performances.
Friday brings a surge of chatter as a colossal crowd gathers at Woodies for what is said to be more than just a Lorde show, but also an album launch. Just hours after release, ‘Virgin’ is unveiled right here on Worthy Farm – a pivotal event that showcases the appreciation artists have for Glastonbury and their eagerness to contribute to its narrative.
As the day accelerates, we cling to Glastonbury’s momentum, trying to experience as much as possible. Supergrass joyfully opens the Pyramid Stage, delivering hit after hit from the Britpop era. CMAT captivates the massive audience, leading them through two-step dances – and the Woke Macarena – with her sizzling Sexy CMAT Band. Lewis Capaldi’s surprise set is heartwarming for all the right reasons, featuring beautiful ballads, witty jokes, and a supportive, warm crowd.
At the Other Stage, fellow Glaswegians Franz Ferdinand join the Capaldi fun by inviting Peter Capaldi to perform ‘Take Me Out’ with them. The dapper actor, in a stylish suit and red shirt, fits right in with the band’s entertaining set. As the temperature drops, Alanis Morissette steps up to energize the massive crowd at the Pyramid Stage – her iconic ‘Jagged Little Pill’ resonates with a whole generation, making for an exhilarating performance.
All attention then shifts to The 1975, who have been heavily promoted prior to the show, stoking speculation about their extravagant production and potential guest appearances. However, the performance doesn’t quite live up to the expectations – while it’s not bad, it doesn’t reach the heights of some memorable past Glastonbury headliners. Matty Healy balances surreal humor with genuine sincerity, but the moment seems just out of reach for him.
Saturday greets us with bright sunshine, infusing the atmosphere with renewed energy. A mid-morning stroll through the Healing Fields to soak in the esoteric vibes revitalizes us, and despite the countless options available, all eyes remain on the West Holts Stage for Kneecap’s performance.
By lunchtime, when Clash arrives, a sizable audience has already formed, enjoying Nilufer Yanya’s incredible set. Her album ‘My Method Actor’ was a highlight last year, and she seamlessly combines it with other works, even including a PJ Harvey cover (‘Rid Of Me’). She closes her set by unveiling a pro-Palestine banner, sharing beautiful words of solidarity.
Palestinian solidarity emerges as a key theme of this year’s festival. Many artists made statements about the ongoing Middle Eastern situation, with the conversation intensifying in relation to evolving global events. Almost every artist spoke out, and it was fascinating to observe their approaches. JADE’s striking set at Woodies featured poignant comments, while Joy Crookes paused her impressive Other Stage set to quietly express her views. Bob Vylan, as many know, took a different route with their incendiary remarks, which stirred controversy but felt out of place in the dialogue. Ironically, Kneecap’s nuanced performance attracted a massive crowd, complete with a sea of Palestinian flags.
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It's a frequently heard phrase, but there is indeed something enchanting about Glastonbury. It's an immense sensory experience that lasts nearly a week, found between the gates.