Glastonbury 2025: Biggest Moments
Glastonbury 2025, has been one of my favourites in recent memory. Last years festival was a bit of a let down for me, but this year they drew me back in. It also led to one of my busiest weekends on Beyond the Grooves ever. Writing 12 reviews in 2 days. After a few days rest, here's my biggest moments from Worthy Farm.
Friday:
Lorde's Release Party
Lorde opening a festival isn't something that happens in 2025, but at Glastonbury that's exactly what happened. Taking to the stage at Woodsies as the first act on Friday, and the first secret set of the weekend. Rumours had been flying around before the festival had began, and by the time it came to it word had quickly spread. The tent was packed, as was the field outside the tent.
Using the show to play her new album 'Virgin' in full, it was one of those sets that could only happen at Glastonbury. A real brave choice from Lorde most of the people at Glastonbury would never have heard most of the record due to already being on Worthy Farm. Yet she keeps the crowd gripped throughout her set.
"At one point, she admits to the crowd, 'This record took a lot out of me — I honestly didn’t know if I’d ever make another one. But now I’m back, completely free.' That sense of freedom shines brightest in the final two songs of the set — ‘Ribs’ and ‘Green Light’ — which bring the moment to a euphoric close. Lorde summer is officially on."
Glastonbury in Ecstasy
Inhaler performed a soaring set on the Other Stage, with a new fan watching. During the set Paul McCartney was caught on camera, in the on stage balcony watching the band.
Within the hour slot, the band played 11 songs, including 5 from their latest record 'Open Wide'. The band have become a well-established live outfit and have worked their way up festival billings, proving themselves as a reliable and compelling act. Their newest record provided the perfect songs for shows like these, combining catchy hooks with moments of raw emotion that resonate with a massive crowd.
'Open Wide' provided the perfect arms aloft moment, with thousands in attendance joining in unison, and Elijah Hewson, the band’s frontman, had the crowd completely in the palm of his hands from start to finish. The atmosphere was electric, showcasing how far Inhaler has come since their early days. ‘Dublin in Ecstasy’ has long been a fan favourite and was warmly received by the Glastonbury faithful, who sang along passionately. The energy in the crowd was palpable, a clear sign that the band’s connection with their audience is only growing stronger.
'Who's Your Money On' is still a highlight of the set, a psychedelic inspired 6 minute epic, from their brilliant debut album. It went down really well with the Glastonbury faithful. One of their newest songs 'X-Ray' complete with it's ABBA intro has slotted perfectly into their live set, and I can't imagine it being taken out anytime soon.
During the performance, frontman Eli Hewson used the set to take a poignant stand with Palestine. He declared, “I’d like to dedicate this next song to the people of Palestine, to any innocent people being starved or bombed, or genocide for the sake of some lunatics.” continuing saying “I feel like we have to say that because our greatest strength is freedom of expression, and there’s no better place for it than right here at Glastonbury. So, be kind to each other, and have a great time.” before launching into the bands debut single 'It Won't Always Be Like This'.
Call the Doctor!
Glastonbury 2025 was full of special guests, and secret sets. Franz Ferdinand decided to have a little fun with both. Frontman Alex Kaparanos said to the thousands in attendance, “One of the things I love about Glastonbury is the rumours. You know, all the gossip that goes around.”
“Someone was telling me this morning that Pulp are going to play on some stage tomorrow. Maybe, I don’t know. Somebody was telling me that Haim are playing, that Lorde was playing this morning as well,” he continued.
“You may have heard a rumour that a fellow Glaswegian who goes by the name of Capaldi. Well, Glastonbury, it gives me great joy to say that these rumours are true. He is here with us tonight. The original Capaldi – Peter Capaldi!”
Capaldi, joined the band on stage to perform their biggest hit, with him and Kaparanos sharing vocal lines on 'Take Me Out', I think it wins the award for the most unlikely collaboration of the weekend, but it worked. The crowd absolutely loved it. It was a sea of people jumping, different colour smoke, and a whole lot of shocked faces.
It's worth mentioning the rest of the set though, it wasn't all just special guests and surprises. The set saw Franz Ferdinand blend the old and the new effortlessly. A fourteen song setlist, that included five songs from their latest effort 'The Human Fear' alongside their other indie bangers. Not wanting to just play the hits, but also never forgetting the brilliant songs that got them here in the first place. It was one of the most underrated sets of the weekend.
Gary Goes to Glastonbury
Blossoms took to the Woodsies Stage at Glastonbury at 6 PM on Friday, 27th June 2025.The band are no strangers to the festival, having played several times before most notably in 2023 on the very same stage, where they performed with Rick Astley, covering songs by The Smiths.
This time, there was no Rick, and no covers either but there was a special guest appearance. More on that later...
Blossoms delivered a 15-song set, featuring six tracks from their latest album, 'Gary'.
They kicked things off with Your Girlfriend, setting the tone for a classic Blossoms festival set that spanned their now five-album catalogue. New tracks like 'What Can I Say After I'm Sorry' and 'The Honeymoon' stood out, sitting seamlessly alongside fan favourites like 'Getaway', 'Honey Sweet', and 'I Can’t Stand It'.
Blossoms have firmly established themselves as one of the best live bands around right now.
Tom Ogden has truly grown into his role as a frontman, commanding the stage with confidence and charm. Joshua Dewhurst remains a criminally underrated guitarist,
Joe Donovan is an exceptional drummer, and Myles Kellock expertly holds the songs together with his keyboards and synths. It was also great to see Charlie Salt back on bass after a long absence due to a hand injury.
A special moment came when CMAT joined the band on stage following her own performance on the Pyramid Stage earlier that day. Together, they performed 'I Like Your Look' a song they co-wrote in an Airbnb in Anglesey. To share it live, at the biggest festival in the world, made for a truly unforgettable moment.
The rest of the set powered on with their newly reworked encore: 'There’s a Reason Why (I Never Returned Your Calls)', 'Charlemagne', and the emerging fan favourite
'Gary' a song written about an 8ft gorilla stolen from a garden centre in Scotland.
Even though the BBC cut the broadcast short, it was a brilliant set from one of the most consistently excellent live bands in Britain right now. Blossoms always deliver.Here’s hoping that by 2027, they’ll be on even bigger stages they’ve more than proved they belong there.
More than a 'Purple' Patch
Wunderhorse are quite comfortably a band on the rise, with their two albums 'Cub' and 'Midas' they have been on a constant upward trajectory. Going from indie upstarts to a band challenging the mainstream. Glastonbury 2025, may have been the bands crowning moment so far.
Playing to a packed audience at the park stage.for just under an hour, the band managed to meet the pre-show expectations with a set that showed the best of both albums, as well as a potential nod to the future with an airing of the latest single 'The Rope'
Wunderhorse are a compelling watch, mostly due to their frontman Jacob Slater who has a brilliant voice, is an underrated guitar player and has such a stage presence. He and the band play with the confidence that a band who've been operating for decades wish to have.
The set was nearly an even split of 'Midas' and 'Cub' with the second album getting six songs from the twelve-song set, 'Cub' getting five with new single 'The Rope' also featuring. 'Purple' garnered one of the best sing-alongs of the weekend so far, and set up the second half of the band's set perfectly.
The second half upped the ante, 'The Rope' set off by green flares in the audience, feels like it's been around for years, the Glastonbury faithful sing every word. You wouldn't think it's the band's latest single. 'Teal' may just be one of the best songs of the decade, and again live it becomes a whole lot more visceral and raw. The roar that the Glastonbury crowd proclaims from the opening chords, is something biblical, Wunderhorse are having a Glastonbury moment, notice I said a and not the, these boys will headline one day.
'Arizona' provides some sort of respite, and showcases Jacob Slater the songwriter, the lyrics of this song are some of his most meaningful and beautiful. I read about the meaning of this song recently, and it's added a whole new sense of brilliance to the song. Go and listen to the lyrics again.
The whole performance is a special one. If Wunderhorse can continue, this kind of form then we will need to stop calling it a 'Purple' patch. How does that Bill Shankly quote go, "Form is temporary, class is permanent."
It's the hip shaking. Headline making. Have an emotional stake in. It's The 1975
Nine years since their last appearance at Worthy Farm, The 1975 made the jump to the top of the Pyramid Stage. With the Glastonbury performance being the band's only show of 2025, it was preceded by some rather interesting rumours about what could happen. Figures around the pricing of their staging had already been leaked (apparently four times their fee).
However, by the time they stepped onto the stage, some of the online rumours had been squashed. Matty hadn't shaved his head, instead he arrived with boot cut jeans, a leather jacket, a roll up and a pint of Guiness complete with a pre-split G. The budget clearly hadn't gone on the outfits, but it was clear that they'd put a lot of work and money into various areas.
The band is a mixture of excitement and nervousness. George Daniel had admitted to the BBC he was extremely nervous and had thrown up before they walked onto the stage. Healy was half bravado, half uncomfortable truth. Still in shock at how they'd got there. His talent as a frontman shines through. Switching from a tormented pop star with a straightforward “Glastonbury-are-you-with-us?” and then into something more earnest, highlighting that the member's friendships are central to the success of the band, and then when the lights come on and see the Glastonbury crowd, he mutters "Oh Jesus." The band jumps between irony, self-deprecation strange behaviour, and popstar gesturing throughout.
A vastly different approach to a headline slot at the biggest festival in the world. However, the visual bombardment of the screens, lights and the irony do not deter from the most important thing. The music.
Opening the show with ''Happiness' from their latest record 'Being Funny in a Foreign Language' the band shows that they're not here to make up the numbers. It's a confident opening track, perfect for festival settings. They then segue into their past era's first into 'If You're Too Shy' just after his Glastonbury address "It's the hip-shaking, headline-making, have an emotional stake in. It's The 1975."
'Love Me' and 'She's American follow, unfiltered pop brilliance, that shines through the Glastonbury crowd. These songs haven't been played throughout the band's previous two tours, only getting sporadic appearances. So to play them at their biggest show to date was quite something.
Online critics have claimed that the show wasn't a Glastonbury headline show. I disagree the band deserves their moment in the sun. It seemed that people just like to moan, everyone is allowed an opinion of course, but some of the online discourse I saw was just down right silly. "All their songs sound the same." In a set that saw the band play 'Be My Mistake' and 'People. I defy people to tell me they sound the same.
The set was exactly what The 1975 is all about. With a performance full of humour, with lyrics flashing up on screen as Healy sings them a touch that works especially well during 'Part of the Band', which features some of the group's funniest lines. In 'Chocolate', the band fills the screens with playful, nonsensical gibberish that somehow perfectly matches Healy’s delivery. "Oh mah hez smell like chocolate"
Just before the band launched into 'Chocolate' a fan favourite, but not their most lyrically complex, Healy decalred to the audicence. "I am the greatest songwriter of my generation… a poet."
A line that the armchair critics quickly misunderstood, Healy is constantly being ironic, and this line perfectly sums him up.
The band played it safe, instead of chasing headlines and inviting controversy the band celebrated the music and more importantly their friendship. The 1975 have been together for over 20 years, they met at school. This was there moment, they didn't want it to be overshadowed by a statement, a line taken out of context or to be defined by one moment.
The heavy hitters are littered throughout the set, 'Love It If We Made It' is the band's most political track, and one of the sharpest critiques of the post-modern world. Echoed throughout the field, and through TV screens just minutes after Healy vowed to make the shows politics-free. 'Give Yourself a Try' is another live classic and one of the best moments of the show, with nods to Joy Division and some of Healy's best-ever lyrics, that sum up the band's relationship with the world they live in, and some nods to the fans to "she was a girl with a box tattoo on her arm."
'Robbers' provided fans with one of the biggest sing alongs of the night, 'People' gave punk a Pyramid slot, and the devastating Britpop, meets Radiohead banger 'I Always Wanna Die (Sometimes)' is always a set highlight. 'Sex' is a mainstay in the setlist, and details backseat car sex, minutes after the band critiqued the world that we are all living in. Blending horror and humour, authenticity and artifice, let's remember this is a band that once said 'Sincerity is Scary'.
The party atmosphere doesn't go anywhere though, every headliner has their one moment on the Pyramid Stage, and for The 1975' it is 'The Sound' where Healy orders the crowd "young, old to jump" and jump they do. It's one of the moments of the set, sometimes all you need is a brilliant gleaming 80s pop banger, and people will collectively lose themselves. In a brilliant set, this may be the crowning moment. Most bands end it there, that's not The 1975 way though.
‘About You’ and its sweeping epic balladry brings the show to a close. Healy leaves the crowd with a poignant parting message: “It’s cool to be mysterious, but it’s cooler to be honest. We’re not going anywhere. Everything will be alright.”
It’s a heart stopping confession for a band that means so much to people. A band who has just headlined the world’s biggest festival on their own terms.
Just before the song kicks in he makes his final speech. “We’re The 1975 from the internet, we love you guys. This song’s About You.” Delivered with such heavy emotion, for a band often surrounded by controversy. This performance, their biggest to date felt different. The music did their talking, all four of them got their moment.
As the final shoegaze swirl lingers, and the band quietly leave the stage. One word is presented on the screen; the same word that has been on George Daniel’s kick drum all evening. Dogs.
It’s the perfect ending, so enigmatic, playful, so unmistakably The 1975. What does it mean? Is it the start of their next chapter. Maybe?
Saturday:
Kneecap Prevail
I can't remember another set at a festival being discussed as much before this one. Now we've had two in the same week. It's just a year since their last performances, first at Woodsies on Saturday lunchtime, and then a second show at 1:30 am which featured Grian Chatten and was attended by Noel Gallagher. Two sets that garnered the band widespread acclaim from fans and critics alike.
Despite the circumstances Kneecap found themselves in, West Holts had to be closed nearly an hour before the band walked on stage.
Leaning into the controversy the band opened with a video showcasing news footage proclaiming them as pathetic, anti-Semitic, and terrorist sympathisers. The clip ending, showing Sharon Osbourne telling Piers Morgan that Glastonbury “has been destroyed by one pathetic band”.
On the day of the show, to add to the circumstances, the BBC announced that they would not be broadcasting the show live. It would be made available to fans after the set had finished. After hearing this news, a fan named Helen Wilson took matters into her own hands. She streamed the show in its entirety live on Tik Tok.
In terms of the music, it's a typical Kneecap set, the build-up to the event doesn't take away from just how good Kneecap are at what they do. Mo Chara and Móglaí Bap are impressive rappers – raw-throated but dextrous, far funnier than the mass media would have you believe. Opening the show with 'Better Way to Live' with Grian Chatten's vocals played over the PA. However, you can barely hear them because the 30,000-strong crowd are drowning it out.
'Your Sniffer Dogs are Shite' sees the band encourage the crowd to open up the pits for the first time of many in the hour-long show, and the crowd obliged. The energy within the crowd was impossible to suppress. The band used the energy of those in attendance to their advantage, mosh pits opened, flares were lit, and the lyrics both in English and Irish were chanted back to the three on stage like a tidal wave.
'Fine Art' receives a rapturous response, and 'Rhino Ket' is still one of their funniest songs, a band who have been targetted as public enemy number one by the British Government singing about ketamine strong enough to send a rhino to sleep, is very funny.
By the time 'Get Your Brit's Out', 'H.O.O.D' and the latest single 'The Recap' are played this is no longer a festival show, it's a victory lap, a clap back at the doubters, the haters and three absolute bangers for the 30,000 faithful in attendance.
The band are extremely confident, in fine voice and understands the power of the show. Kneecap has become one of the most talked about groups in recent months, for what they have described as a "trumped up terror charge.". What we really should be talking about, is their stance on what is going on in Palestine, what good they are doing for the Palestinian people, their brilliant semi-autobiographical film, and their music.
Kneecap drew their biggest crowd ever at Glastonbury, and one of the biggest crowds West Holts has ever seen. It was a feral and feel good rave of defiance against all odds and unity with each other. At a time when it seems like the world is out to get them.
Hip-hop has always been a genre that's forceful, and urgent and was often seen as a symbol of the counterculture, in the same way punk was. This performance will be remembered for a very very long time.
Sheffield's Finest Patchwork
Pulp's secret set, was one of the worst kept Glastonbury secrets. Even with the band attempting to deny they would performing at the famous festival. Yet it didn't put a dampener on it at all. In fact Pulp pulled one of the very best crowds of the weekend.
Declaring 2025 a "Pulp Summer" they launched into ‘Sorted for E’s & Wizz’, wasting no time in pleasing the enormous crowd. Song number two? Another classic from 'Different Class', ‘Disco 2000’. Two of Pulp’s most iconic tracks opened the set, making it clear they weren’t here just to make up the numbers.
Pausing briefly, Jarvis Cocker asked the crowd, “Did you know we were going to play?” The resounding "Yes!" from Glastonbury confirmed the worst-kept secret of the weekend. He then took a moment to reminisce, reminding everyone that both opening songs had debuted at Glastonbury back in 1995. That headline slot had originally come about because The Stone Roses were forced to pull out after John Squire fractured his collarbone.
Pulp followed with ‘Spike Island’, a track named after the iconic Stone Roses gig and the lead single from their most recent album. It was well received by the massive crowd gathered at the Pyramid.
What followed was a masterclass in why Pulp remain so beloved: a beautiful acoustic rendition of ‘Something Changed’, the His 'n' Hers classic ‘Do You Remember the First Time?’ where Cocker recalled his first time at Worthy Farm, asking the crowd if they remember theirs. His was a less than ideal first time. “The first time I came to Glastonbury I couldn’t handle it," regaling us with an all-too familiar tale of losing his tent and having a bad time. “You have to submit to it,” he says of the festival. “It’s bigger than all of us.”
‘Mis-Shapes’, he dedicated to the Glastonbury faithful. “You might get called these things (misfits and mis-shapes) ,” he said, “but I’d still want to spend time with you.” After all these years, Cocker remains an exceptional frontman, and Pulp are still phenomenal musicians.
They handed themselves over to the festival, and give Worthy Farm one of the weekends joyous sets. Pulp are back in the minds of the nation with a brilliant new album, and a catalogue of bangers that rivals every band at the festival. There were shouts from many that Pulp should have headlined, and I have to agree.
Their recent single ‘Got To Have Love’, a highlight from More, with nods to 1995’s ‘F.E.E.L.I.N.G.C.A.L.L.E.D.L.O.V.E.’, also landed perfectly. Even with the newer material, Cocker’s charisma, his pointing, cajoling, and conversational asides kept the crowd completely in his grasp.
Of course, they closed with ‘Common People’ the definitive Britpop anthem about supermarkets, cockroaches, cigarettes, pool, and those who’ll never truly understand. As the band reached the song’s euphoric climax, a Red Arrows flypast tore across the sky, perfectly punctuating the moment.
The crowd a sea of people completely lost themselves. Pulp drew one of the biggest audiences of the weekend. Pulp's arena shows have all been sell outs, and the demand for them is still there. In a summer where Oasis are hitting the road, let’s not forget Pulp. They’ve always had something to say, and they still do. The new songs are brilliant; the classics remain nothing short of spectacular.
Summer Girls in the Park
13 years, and 3 albums later Haim returned to the park stage as one of the most established indie pop bands in the world.
Opening the show with 'The Wire', a perfect slice of indie pop from their debut album 'Days Are Gone'. They followed it up with 'Now I'm In It', one of the standout tracks from their brilliant third record 'Women in Music Pt III'. Complete with a thunderous, tribal drumming finale, it picked up the energy exactly where 'The Wire' left off.
“Glastonbury,” Alana began, before being interrupted by a roar of sustained cheers that made all three sisters hold their hands to their heads in disbelief. “My fucking god, this is crazy!” she laughed, visibly overwhelmed. “When our first album came out, we played the Park Stage at Glastonbury and it was the best show I had ever played but this tops everything. Look at all of you! Every time we get to play Glastonbury, it’s a complete honour. We love you so much.”
The set provided a vibrant snapshot of Haim’s evolving artistry, spanning all four of their albums but with a particular focus on their latest. From 'I Quit', 'Relationships' stood out, its sleek, slow-burning groove blending ’90s R&B with modern pop both reflective and punchy in equal measure. 'Everybody’s Trying to Figure Me Out' followed, offering a moment of understated charm, its simple guitar plucking carrying beautifully in the open air. 'Blood on the Street' brought a twangy, country-tinged edge, its raw honesty about betrayal cutting through with emotional weight.
Down to Be Wrong' brought a mid-tempo shift with direct, bold choruses about self-empowerment had an extra element live and was used to close proceedings. This song is one of the best from their latest record, with all three sisters sharing vocal duties
But as always, it was the classics that really ignited the crowd. 'Want You Back' was a definitive peak of the set, sparking one of the loudest sing-along moments of the evening, while the laid-back groove and flawless saxophone of 'Summer Girl' felt like it was written specifically for golden festival sunsets. With the three sisters encouraging the 'Summer Girl's' in the audience to get on their friends shoulders, a real moment of community between band and audience.
What makes Haim such an exceptional festival act is their sheer range and the ability to switch effortlessly between intimate, guitar-driven moments and big, euphoric anthems. Once again, Glastonbury pulled off another spectacular secret set, and Haim despite some technical issues with microphones proved exactly why they continue to be such a perfect fit for stages like this
Brat Burns!
We were never going to get a dull performance from Charli XCX. At one of the biggest shows of her career, she delivered what many are calling her best performance yet. While Neil Young was officially listed as the Pyramid Stage headliner, reports suggest he played to a much smaller crowd. Meanwhile, Charli packed out the Other Stage, drawing an estimated 70,000 people a moment many see as the true headline set and the crowning achievement of her 'Brat' era.
Returning to Worthy Farm, a year after she hosted her PARTYGIRL DJ night, 'Brat' wasn't quite the cultural phenomenon that it would go on to become, but still there was a huge demand to see Charli, Silver Hayes was shut down, and thousands of people turned away. Charli simply had to return. Glastonbury understood just how big this could be and significantly increased the capacity of the Other Stage, but even still crowds turned up in their droves, and there was barely space to move, joining Charli into what is 70 minutes of chaos, in the best possible way.
Rumours of special guests had been rife all weekend 'Brat and It's Completely Different but Also Still Brat' featured a whole host of special guests performing on remixes of the songs, some of which played Glastonbury (Lorde, The 1975) could they have featured? Maybe.
This show was powerful enough with just Charli though, this was her moment, after a decade of bubbling under and then after her biggest year to date, Glastonbury was the crowning moment. Her fiancé George Daniel, had his the night before. When The 1975 topped the Pyramid stage
Production was minimal, as was the on-stage chat from Charli but the energy that transcended from her and the crowd more than made up for that. When she did speak, its a very sincere moment between the artist and her fans “I’m known to have a heart of stone, but this s is very fucking emotional.”
The songs from 'Brat' have become cultural behemoths. She made an album that saw her step away from the pop world and become one of the biggest stars in the world.
Many thought that this would be the show to end the 'Brat' era after a one-two of the ‘365’ remix and ‘360’, the stage backdrop goes up in flames.
This banner has been with Charli for the whole tour. Throughout her live performances, it has become ever more tattered, with the album title gradually being scrawled out. Charli played most of the songs from the album, and they all were received well, 'Girl So Confusing’ received some pantomime boos when fans realised they weren't getting a guest performance.
The whole set was expertly conducted, by a now bona fide superstar. Visually a masterpiece, the stage show perfectly complimented her set. Charli didn't really need to say or do anything, fuelled by her music and charisma she commanded the crowd with an enormous glass of wine.
'Von Dutch' was probably the definitive moment of the whole set, with Charli commanding not only the audience but the BBC cameras to do as she asks. The crowd lapped it up and for those watching at home. It made for a compelling watch, you were watching a genius superstar at work.It wasn't just the songs from 'Brat' that pleased the crowd, her older material in particular 'Vroom Vroom', 'Unlock It' and her brilliant collaboration with Icona Pop, 'I Love It' caused huge sing-alongs, flares to be lit, and 70,000 people to collectively lose it.
Despite burning the Brat banner, Charli made her true declaration at the end of the set. As the final strains of 'I Love It' rang out across Worthy Farm, a departing message was displayed on the big screen.
“Thank you so much Glastonbury. So we burnt it down – does that mean Brat is finally over?? Maybe it is. But probably NOT. But we had to do it. And it looked cool. I think you all have proven to me that Brat is forever <3. I don’t know who I am if it’s over. It wasn’t just a summer thing…it’s a forever thing xx”
Charli had her superstar moment, on her terms. A bold stark Glastonbury set, that acted as a victory lap for one of music's most innovative pioneers who has always been one step ahead. Who no longer has a point to prove.
It should have been on the Pyramid, is a statement I've heard echoed around, and I'm inclined to agree. If Charli at this moment in time isn’t worthy of a Pyramid slot at Britain’s biggest music festival, then who is?
Sunday:
Britain's Best Band Bloom
A fifth time on the farm for Ellie, Joff, Joel and Theo. Three years on since their Pyramid stage show, which saw the band make the festival by the skins of their teeth and ten years on from their debut album. This time the band plays as the penultimate act on the other stage, a Sunday evening slot just before The Prodigy, to a huge crowd.
Each album has pushed the band further up festival bills, allowed them to embrace new sounds and ideas and become a force to be reckoned with. Forthcoming fourth album 'The Clearing' sees the band entering probably their best era yet.
Opening the show with 'Formidable Cool' the grungy effort from their second album 'Visions of a Life' allowing Ellie to show her vocal range and the band to blow the crowd away. 'Delicious Things' follows a more hazy, shoegaze feel perfect for festival evenings.
Another 'Blue Weekend' classic 'How Can I Make it Ok' follows and despite a few nervous moments from Ellie, the band put in a stellar performance. With her voice full of emotion, she's grown into her role as front woman, in recent shows she has been more electryfying han ever before. What follows is a cover of Fleetwood Mac's 'Dreams' which seems to go down an absolute treat with the Other Stage crowd.
The newest single 'Bloom Baby Bloom' lights the blue touch paper though, and the crowd love it, it's one of the band's most bombastic songs to date and causes huge singalongs and numerous people on their friends' shoulders, that mood is continued into 'Bros' the indie friendship anthem. A song that recently turned 10 years old a song that has soundtracked thousands of moments for best friends, and at Glastonbury soundtracked a whole lot more.
Following a comment on Instagram from Theo in the days previously about flares. He had been impressed at other bands, and artists' fans lighting flare in the crowd, and wanted that to happen to Wolf Alice, and in 'Bros' the Glastonbury crowd obliged. As plumes of multi-coloured smoke rise into the air, bassist Theo Ellis declares, “Whoever got the memo about the flares, I love you.”
'Don't Delete the Kisses' brings the show to its end, another song that puts Ellie's voice and lyrics right at the heart of the moment. This time, it's made even more magical as a field of 40,000+ festival-goers throw their arms around friends and partners, some on shoulders, flares lighting up the night sky, the crowd singing every word in unison. It’s less about desperation and more about celebration. A pure Glastonbury moment where everyone feels part of something bigger than themselves. Including the band, this is their Glastonbury moment
They're all exceptional musicians and in this new era, a lot more people are going to get to see it. With a new album on the way and a subsequent arena tour, dare I say it the next time we see the band at Glastonbury, they'll be headlining. Michael, Emily you know what to do.
An Emotional Return
12 months ago, The Maccabees playing together seemed like a distant memory, the break up in 2016, seemed like it was final. All five band mates immersed themselves in new projects. However, 9 months ago the band announced they would be reuniting and playing some shows in the run up to their biggest gig to date, a headline slot at London's 'All Points East.' However, before then there was the small matter of Glastonbury.
After a charity gig and a series of intimate European warm-up dates, they were given the task of headling the Park Stage on Glastonbury 2025's final day. A heaving crowd is ready to welcome them back with open arms as they close out the hillside stage for the weekend.
The band waste no time getting things started, 'Latchmere' opens the set, and then 'Lego's' punky exuberance lifts the mood even further. “Hey Glastonbury, guess what? We’re The Maccabees!” guitarist Felix White tells them afterwards – no surprise to anyone who’s been paying attention, but a thrilling sentence to hear in 2025, nonetheless. “It’s a long time to hold your nerve with the faith you had in a band and then trek up a hill to see if you were right,” the band shares after a scintillating ‘No Kind Words’.
This could go down as one of The Maccabees’ most euphoric shows. There are few things more joyful than witnessing Felix White grinning ear to ear as he hypes up the crowd between songs. Frontman Orlando Weeks, meanwhile, looks happier than ever, joining his bandmate in some rare instances of geeing up the crowd and looking truly appreciative of the moment.
The setlist seems perfectly currated for a sunset show at Glastonbury. ‘Marks To Prove It’, which opens with a roaring scream from White, fizzes with fire, while ‘Toothpaste Kisses’ sounds sweeter than ever. Songs like ‘Spit It Out’ and ‘Something Like Happiness’ sound beautiful and stately as they roll out over the hill, the emotion contained within them dialled all the way up as the glowing sun sets in the distance.
'Something Like Happiness' has a particular poignancy, the last time the band went on tour, this song symbolised the beginning of the end. I hope that this time round it symbolises a new beginning.
The band have a surprise up their sleeves before the encore, inviting their friend and collabrator Florence Welch to the stage for guest vocals on ‘Love You Better’ before taking to cover Florence & The Machine‘s ‘Dog Days Are Over’ “Do we have any Maccabees super-fans in the audience?” asked Welch, “because you definitely have one on stage.”
'Pelican' brings the show to an end, and it almost feels to soon. This has been one of the sets of the weekend, after being away for so long their moment on stage feels fleeting but perfect. Now, their reunion rolls on to more UK dates and their big day out at All Points East. Start praying now that they decide to continue beyond that, too.
Olivia Rodrigo, Adopted Brit
Glastonbury gave Olivia Rodrigo a difficult task, closing out the Pyramid in the year before a fallow year, is not easy. Add to that she's 22 and it's only her second time at Glastonbury. Yet she pulled it off and she made it look easy. The next headliner planned for 2027 had better start planning their set now if they want to top this.
She pulled probably the biggest crowd of all three Pyramid headliners and runs through one of her best ever shows. Navigating through punk numbers like ‘Brutal’ and ‘All American Bitch’ and then playing one of the most heartfelt and tender break up anthems ever in 'Drivers Licence' all the way through letting her emotions shine through in a way that's authentic.
The California songwriter has always worn her alt-rock influences on her sleeve, in Dublin before Glastonbury she covered 'I Love You' by Fontaines D.C. and many suspected another cover, but she's not one to do things by halfs. Introducing him as “probably the greatest songwriter to come out of England”, Robert Smith took to the stage for unforgettable duets of The Cure classics ‘Friday I’m In Love’ and ‘Just Like Heaven’. It was electric, and closing Glasto in style is something the godfather of goth knows plenty about.
She proved a lot of naysayers wrong, and won over some new fans. Including me. With a brilliant voice, great songs, a stellar backing band. Who all add something to the show. The crowd are quickly gripped and those of us watching at home soon follow. One moment that proves Rodrigo's love of Britain, and it's people comes just before the brilliant 'So American', where she talks about British pubs “where no one judges you for having a pint at lunchtime” – and M&S confectionery legend Colin the Caterpillar.
The whole show was loud, brash and brilliant. This headline slot will be remembered for a very long time.
Wrap Up
This was a good year at Glastonbury we had some brilliant moments and, of course, some controversy. Skepta stepped in as the super sub for Deftones, Pulp delivered a brilliant 30th anniversary show, and Lewis Capaldi returned to finish what he started in 2023. The Libertines made a memorable return to the Pyramid Stage, while Blossoms playfully teased an Oasis support slot by singing the opening line to "Hello" during their set.
Wunderhorse proved they’re the most exciting guitar band in Britain right now, and Wolf Alice showed once again that they fully deserve a headline slot in the future. Olivia Rodrigo had her superstar moment on the Pyramid Stage, captivating the crowd, and The Maccabees made a stunning return, joined by Florence Welch, adding a beautiful surprise to the weekend.
It wasn’t without its talking points either Bob Vylan sparked debate with their outspoken, politically charged set, while Kneecap’s performance and presence ignited controversy, continuing their tradition of challenging the establishment.
With the festival taking a break in 2026, it will be 2027 before we’re back on Worthy Farm but this year gave us plenty to remember until then
Who do you want to headline in 2027? I've got a couple of acts in mind.
The rumour mill is already in full swing, with William Hill already taking bets. Here's the favourites so far
Sam Fender 2/1
Ed Sheeran 3/1
Taylor Swift 3/1
Beyonce 4/1
Rihanna 4/1
Miley Cyrus 4/1
Eminem 4/1
Oasis 4/1
Chappell Roan 4/1
Little Simz 4/1
Fred Again 4/1
Bruce Springsteen 5/1
Charli XCX 5/1
Harry Styles 5/1
Sabrina Carpenter 5/1
Adele 5/1
Lady Gaga 5/1
I know who I don't want. Eminem is not a Glastonbury headliner, neither is Fred Again, I also don't think Miley Cyrus is. Ed Sheeran shouldn't be doing it again either in my opinion.
The others I'll take.
Thank you for reading
Jack