It seemed impossible for the long haired and devils to inaugurate it in 1970, but the Glastonbury Festival has taken its place among the favorites of the Paddington Bear and Dame Judy Dench, as well as in the first category of British national treasures.
If its counter-cultural roots were nurtured by a sense of diversity, then these days Somerset Extravaganza is proud to have done something for everyone. This year’s event featured about 800 works on a site attended by more than 200,000 people. It has received less humble Wimbledon-like BBC coverage. Of the three headliners, the youngest was solo artist Billy Ilish, and the oldest was Paul McCartney. Glasto, this is the cosily nickname, wants to cross the divide.
McCartney was to appear for the 50th anniversary of that festival in 2020, in an acclaimed rock-rap-pop superstar line-up that also included Kendrick Lamar and Taylor Swift. After canceling that year’s epidemic and last year’s online mini-festival, Glastonbury withdrew two of the three to return to proper action. McCartney headlined the pyramid stage on Saturday, while Lamar was re-booked as the closing act for Sunday (to cover in a separate review). Illis was in Swift’s place as the headliner of the opening night. He is also the biggest name in pop, he is the symbol of the festive cachet.
The official event began Friday morning with a video address of Ukrainian President Volodymyr Zelensky, who challenged those seeking Glastonbury’s happiness to prove that “freedom always wins.” Her olive-green military T-shirt gave the khaki fatigues a serious glow that is a staple of festive wardrobes, as well as hedonistic glosto metaphors of “bombs” and “blitz”. He was followed on another stage (the festival’s second-largest venue) by a band notorious for using their freedom unwisely rather than making good use of it – The Libertines, the early-2000s UK Indie Rock’s Weaver’s Beloved, Britpop’s Fag-End.
As Zelensky’s words reprimanded, or perhaps distracted from finding themselves under the bright afternoon sky, now the middle-aged quartet began slowly. But they made the head of the steam with their ugly songs – things appearing on the brink of collapse, shaking affairs, jumping with hoarse choruses and rough-diamond rhymes, just like the ominous promise of co-frontman Pete Doherty. To admit all my sins after so many big jeans in “Music When the Lights Go Out”.
Glastonbury’s Bill was filled with indie bands like the Libertines. But in this style of music, the lights went out, or at least dimmed. Over the past 20 years, the festival has managed to diversify itself. It crawls a variety of works on its 800-acre site, which is a ranch with cows for the rest of the year. For its long weekend, the only milk is for applause, no matter the genre of music, as the frequent recitation from the stages: “Glastonbury, are you having a good time?”
Pakistani singer Aroj Aftab sang along with flute player, acoustic guitarist and violinist on the West Holts stage during FT’s Friday tour. “Is this a sitting vibe?” At one celebration, a participant asked his friend. Yeah Al that sounds pretty crap to me, Looks like BT aint for me either. The rain threatened, but stopped. Sunshine wins, it’s important to have a good Glastonbury time as a musician looking for any applause.
It was the only standing room for the veteran American girls group TLC on the West Holts stage, which attracted a large crowd. The backing band gave their 1990s R&B hits an old-fashioned Soul Review experience, while the super-slick dancers did backflips. Singers Tionne Watkins and Rozonda Thomas sang hit songs such as “No Scrubs” and “Waterfalls” with American entertainment royalty pizzas. The atmosphere of the occasion was captured by a woman who bravely climbed the flagpole and began a pole-dance routine.
Confidence Man’s set on the park stage was another highlight. The Australian male-female duo puts everything at Bar A Kanga with a highly entertaining series of hyperactive dance moves, handography, armography, shimmy, shakes, knee-slides and a stunning display of vogue – disco, house and electropop. Numbers.
Any citizen foolish enough to attempt similar feats of Terpsicorian prowess in the nearby Arcadia region would later inflict violent injuries. For the post-midnight techno, it was carried shoulder-to-shoulder while a giant mechanical spider set fire and a balloon floating in the air with the dancer suspended from it. FT rolled his eyes and wondered if it was time to go to sleep.
Dance music was represented by a huge array of DJs from Carl Cox to Kelvin Harris. Meanwhile, those seeking to gain knowledge from old-school acid-rock, Glastonburys were also well cared for by acts such as the soundtrack of the past, the Japanese psychedelic band Kikagaku Moyo. They played an enchanting event in the West Holts on Friday morning, where the afternoon sun overshadowed the fact that it was their last UK appearance: they are on a farewell tour before the breakup.
A celebratory talk point spread from the comments of UK comedian Lenny Henry, in contrast to the diversity of his actions, how white his audience is. During a fun pyramid stage set on Saturday, AJ Tracy’s command was proof of the accuracy of the forest observation of white weapons moving back and forth. Just as the West London rapper decided to add grim sound to his UK garage with rock flavors and guitarists and drummers. There was a decent number of rappers in the line-up, but no stage dedicated to music.
In other ways, however, the festival’s customers appeared enthusiastically mixed. All ages were present, with an equally visible division between women and men. The ticket price of £ 285 represents a remarkably good price, including a maximum of five nights of camp as well as an abundant line-up of works. Festival organizers Michael Ivis and his daughter Emily Ivis have protested against making the event financially dairy.
On Saturday, Greta Thunberg gave an amazing speech about climate change from the pyramid stage (a hackler shouted “boring!” And alternately set the hem before). The California trilogy played an impeccable summer program, with a pinpoint of professionalism under the air. On another stage, Nigerian aphrodisiac star Berna Boy rang the sunset bell, dancing off the golden glitter with a large group of musicians and support singers.
The anti-abortion action of the US Supreme Court to overturn the Ro vs. Wade announced during the celebration was repeatedly condemned from the steps. One of the strongest interventions came on stage from new American pop star Olivia Rodrigo, who brought Lily Allen to join her for the UK singer’s “Fuck You” version. It was dedicated to five conservative judges.
Billy Ellis also referred to her decision, “Black Day for Women in America,” she said on her Friday headline set. The youngest single headliner, 20, adapted her current arena tour for the huge space of the pyramid stage, with lots of upbeat songs and less slow songs. The cleverly loud-quiet sound design of hits like “Bury a Friend” was surprisingly well expressed in the large outdoor space – but it also created a subdued atmosphere. Although Ilish had a charismatic appearance, the stage and its contents felt swallowed up in the night time extension. The knockout finale with “Happy Days Ever”, with hungry fireworks and real fireworks, with his brother Phineas O’Connell’s guitar pyrotechnics, underlined that the rest of the set was a bit wet.
Saturday’s headliner had just turned 80. An inevitable McCartney went on to play more than double the duration of Ilish’s 75-minute appearance. A large crowd of about 100,000 was spread far away from the pyramid stage. Mecca proceeded to do so on its own terms. This meant the mandolin-led hooddown “Dance Tonight”, the Beatles’ Lolita “Ob-La-D, Ob-La-Da’s” pubby knee-up, and the regrettable presence of ancient anecdotes about Jimmy (Hendrix) and Eric (Clapton). As well as nerve-tinglers like the single “Blackbird”. McCartney sang pragmatically, without letting his voice go beyond its capacity.
His excitement at the announcement of a special guest from the US West Coast sparked expectations of an appearance from the California expatriate Ringo Starr: just to walk the stage for Dave Grohl’s unconventional personality. Another special guest was Bruce Springsteen, who joined Mecca for his own song “Glory Days” and The Beatles’ “I Wanna Be Your Man”.
McCartney pushed the larks too far, returning for a tiring guitar workout at the closing performance with his guests and bandmates. Abe RoadThe “end” of. He was supposed to end with the pre-encore closure “Hey Jude”, during which the ex-Beatles conducted their huge audience in a resounding single ong. In that collective singing, na-na-na-ing, in sexuality, there were bonding relations, the meeting between the two national treasures of Glasto and Mecca.