Here we again: Glastonbury is over for another year. By now, you should have put a big wash on, slept hard enough to ignore a nuclear war and be able to concentrate without the thudding echoes of the South East Corner entering your thoughts and reducing you to a crumbling mess.
Welcome back to reality. Yes, we know it sucks – even more so this time as we have to wait until 2027 for another Glasto due to a fallow year coming next.
To keep you going until then and to relive the magic of what just went down, Team NME bring you the biggest, best and most unforgettable moments from Glastonbury 2025. Until next time…
Words by: Rhian Daly, Liberty Dunworth, Andrew Trendell
Heartworms’ dose of joyous gloom
Your social feed may be swamped with pics of the sunburned masses raving it up and soaking up the rays, but the opening Thursday night of Glasto kicked off with a little gloom courtesy of post-punk maestro Heartworms beneath the drizzle up at Strummerville. The NME cover alumni’s gothic, barbed spiderweb of sound perfectly suited the downpour and got one helluva rise out of the early revellers spilling up the hill. Who knew darkness could feel this good? (AT)
Maruja’s shirtless fight for peace
“It is our differences that make us beautiful,” barked Maruja frontman Harry Wilkinson to Glastonbury’s Strummerville. “Fuck the fascists,” he went on, introducing the brutal new single ‘Look Down On Us’, taking aim at our “so-called leaders” taking us down a cursed path of their own design.
Shirtless and battle-ready as they stomped the stage, invaded the crowd and dizzied with their ever-ascending sax-meets-noise jazz-rock, they captured what anyone who was actually there will tell you was the true spirit of this year’s Glasto straight out of the gate. “We may be aggressive, but our message is one of peace and unity”. Amen. (AT)
Lorde’s epic ‘Virgin’ release party
Lorde opening a festival isn’t something you’re likely to see much these days, but that’s exactly what happened at Glastonbury 2025. The Kiwi pop star celebrated the release of her fourth album ‘Virgin’ by turning up for a secret set at Woodsies, where she played the whole record in full. Of course, word had already got out and the whole field was rammed as far as the eye could see while the star danced her way through the new songs. As a reward for indulging her, Lorde ended her set with ‘Ribs’ and ‘Green Light’ – both of which turned the tent into a heaving club awash with blissful euphoria. Check out the full review here. (RD)
Supergrass take us back to ‘95
Supergrass opened the Pyramid stage with a bang on Friday, paying homage to their 1995 set — which saw them on the bill alongside fellow Britpop royalty Oasis and Pulp — and celebrating the 30th anniversary of their iconic debut ‘I Should Coco’. After delivering hits like ‘Alright’, ‘Caught By The Fuzz’ and ‘Mansize Rooster’, frontman Gaz Coombes told the crowd it was an “hour and a privilege” to be back on the main stage – and based on the cheers that followed, love for the Oxford band has only intensified over time. (LD)
CMAT’s camp’n’country finest hour
Equipped with, in her words dear reader, “an amazing ass and the best Irish rock’n’roll country band in the world” (who she repeatedly hailed as “very sexy”), CMAT brought all the sass, joy larger-than-life showmanship of new album ‘Euro-Country’ to her Pyramid Stage debut for one of those proper Glasto “I was there moments”.
After a sun-kissed set of camp’n’country – complete with Eurovision choreography and a dance-along to the viral ‘Take A Sexy Picture Of Me’ TikTok trend – she told the packed-out field the set marked “single-handedly the most amazing and the best thing I’ll ever do”. At the very least, it slapped a wide smile across Glasto and set the bar for the weekend. Check out the full review here. (AT)
Faye Webster dreams us a little dream
Faye Webster’s set at the Park stage came as a breath of fresh air as the sun beamed down on Glastonbury on Friday. With her signature blend of lovelorn vocals and sonic guitar melodies, the Atlanta singer-songwriter had the crowd captivated from the moment she began, up until she closed with the melancholic 2024 single ‘Feeling Good Today’. If you were after a dreamy vibe for your Glasto weekend, this was the perfect spot to be. (LD)
Ding ding! Wet Leg step into the ring
Wet Leg’s new era continued apace with an enormous Other Stage performance on Friday. Frontwoman Rhian Teasdale strode out to meet the crowd like a boxer showing off their might ahead of a big match and then proceeded to obliterate the competition with a performance that was strong, sexy and powerful. New songs like ‘Mangetout’ and ‘Davina McCall’ landed big punches and old favourites ‘Chaise Longue’ and ‘Ur Mum’ proved they still have a firm place in fans’ hearts. (RD)
Lola Young proves more magical than messy
A lot has changed for Lola Young since she first performed at Glasto back in 2022. Returning now having played at the BRITs, graced the NME Cover and having her song ‘Messy’ reach over 700million streams on Spotify, there is no doubt that this moment on the Woodsies stage was a powerful one for the London singer. Alongside some of the first live renditions of new tracks ‘One Thing’ and ‘Not Like That Any More’, the most magical moment of her set came with the emotional ballad, ‘You Noticed’, Young looking visibly moved by the huge response from the packed crowd. (LD)
Lewis Capaldi finishes what he started
In 2023, Lewis Capaldi performed on Glastonbury’s Pyramid Stage but struggled with his voice and exhibited tics from his Tourette’s throughout, causing him to end the show prematurely. On Friday, he returned to finish what he’d started with a secret set on the same stage.
It was his first performance since his last time on Worthy Farm and the festival crowd showed up to support him, with the Pyramid field packed with cheering onlookers. Capaldi was back on top form as he ran through the short set, including new single ‘Survive’ inspired by his experiences and mega hits like ‘Someone You Loved’. “I’m Lewis Capaldi and I’m fucking back, baby!” he declared at the end of Glastonbury 2025’s most emotional set. He certainly is. (RD)
Franz Ferdinand call for a doctor
With high-kicks, sweet licks and indie bangers, Franz were already winning at Glasto, then pulled one helluva surprise out of The Tardis. “One of the things I love about Glastonbury is the rumours,” Alex Kapranos gathered at The Other Stage just as Lewis Capaldi’s neighbouring Pyramid show had finished. “You know, all the gossip that goes around”.
Well, we take great pride in our ability to stay on top of that gossip and ruin all surprises here at NME (you’re welcome), but not even the ghost of King Arthur could have known what was to follow. “You may have heard a rumour that a fellow Glaswegian who goes by the name of Capaldi [is playing]. 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!”
Doctor Who himself then took to the stage, looking cool as fuck, to belt out ‘Take Me Out’. Sealed with the kiss of indie-sleaze wunderkind Master Peace taking to the stage and you’ve got the stuff of Glasto history right there. Backstage and still beaming, Capaldi, Kapranos and Peace told us about the chances of a future supergroup. Let’s make it happen. (AT)
Gracie Abrams provides the antidote
“I was thinking about how the world is so wild and upsetting right now, but being here right now… it feels like the antidote,” Gracie Abrams told us towards the start of her ethereal set at the Other Stage. From there, it was clear she was determined to make this statement into a reality — pushing an enchanting performance that echoed messages of hope, resilience and compassion. (LD)
It’s a one Wunderhorse race
Wunderhorse’s second album ‘Midas’ has taken the band from indie concern to band about to trouble the mainstream, and that trajectory continued at Glastonbury as they played on The Park stage. ‘Arizona’ and ‘Purple’ elicited huge sing-alongs from the crowd, while the latest single ‘The Rope’ showed where the group could be heading next. Regardless of what direction they take, though, their masterful set proved that, for Wunderhorse, the only way is up. Check out the full review here. (RD)
Biffy Clyro bring a little love
A new era of The Biff awaits, as seen in by the LCD Soundsystem dancey piano stabs of recent single and set opener ‘A Little Love’. It’s mantra of unity and call for togetherness makes a lot more sense here at Worthy Farm, where you’re only a nod away from a hug at any given time.
“We’re gonna ask a lot of you tonight,” offered frontman Simon Neil by way of “dancing, clapping, bouncing, shagging”. “I’m sure you’ve got that part taken care of,” he nodded to the last part. Still, it didn’t stop ‘em trying to share a little togetherness, with the “angels of Glastonbury” giving the love back for ‘Biblical’, howling along to ‘Wolves Of Winter’ and proper havin’ it throughout, peaking with Neil’s tender cover of The Beach Boys’ ‘God Only Knows’ in tribute to the late Brian Wilson. That’s love. (AT)
Self Esteem eyes up the Pyramid Stage with pure theatre
Rebecca Lucy Taylor’s slot at Glasto has been a long time coming. She recently laid out her rage in the powerful new record ‘A Complicated Woman’, and she kept the momentum going with her theatrical performance on the Park Stage on Friday. From opening with an eerie nod to A Handmaid’s Tale to getting the crowd moving with tongue-in-cheek new single ‘69’, Self Esteem‘s set was even more ornate than you might expect at Glasto, and not one to be forgotten in a hurry. When the Pyramid is ready for Taylor, there’s no doubt she’ll be able to fill it. (LD)
Loyle Carner makes Glasto feel intimate
It was no secret that Loyle Carner’s headline set on the Other Stage was one close to his heart, as the rapper recurrently looked out in disbelief at the sea of people before him, and delivered a poignant speech about his decade-long journey to this very moment.
While he made waves by bringing out both Jorja Smith and Sampha as surprise guests, the most impressive part of his set was how he was able to make his biggest show yet feel like an intimate affair. Illuminated by a gentle spotlight and letting the music speak for itself, the performance was arguably the most poignant of the whole weekend, and not one that will be forgotten any time soon. Check out the full review here. (LD)
The 1975 shun headlines for spectacle and bangers
“Use your platform, that’s what they say, right?” said The 1975 frontman Matty Healy towards the end of their Friday Pyramid headline set. Oh, here we go! More right-on soapboxing from the Tumblr Trotsky of the modern age. “We don’t want our legacy to be one of politics, but to be one of love and friendship”. Oh, we weren’t expecting that.
Instead of chasing headlines, the Manchester pop giants instead let the music do the talking, albeit backed by a self-referential stage show and spectacle celebrating the band’s eras to date – peaking either with Matty arriving on stage with a rollie and Guinness with a pre-split G, ripping the piss out of his own lyrics and delivery of ‘Chocolate’, or decadently lounging in the back of a car complete with ‘ME ME ME’ licence plate. They may not have said a lot, but they left it all on the stage. Check out the full NME review here. (AT)
Alessi Rose finds a new home
Fresh from supporting Dua Lipa on her stadium tour, new alt-pop star Alessi Rose opened the Other Stage on Saturday with charm and big earworms aplenty. A horde of young fans gathered at the early hour to watch the Derby singer show why she’s one of the leaders of the next wave of British pop heroes, the likes of ‘imsochillandcool’ and ‘Stella’ providing relatable – and infectious – hooks to grab onto. “This is my first time at Glastonbury and my first time playing Glastonbury,” Rose said in disbelief at one point, but on the strength of this set, it won’t be her last. (RD)
Sorry show us who the fuck they really are
“Who the fuck is Sorry?” read the screen at the back of Woodsies as the north London band took to the stage on Saturday afternoon. Over the next 45 minutes, they detailed their identity very clearly – a spiky, unpredictable band making some of the most interesting indie music in the UK right now. Recent single ‘Jive’ opened proceedings, veering from stripped-back verses to crunching, crispy beat-driven breakdowns, while the careening ‘Let The Lights On’ showed the band’s tender side without compromising on the haphazard feeling of their music. (RD)
Beabadoobee brings the romance
Summer felt like it was in full force over Worthy Farm as Beabadoobee took to the Other Stage on Saturday for her enchanting afternoon slot. Repeatedly sharing her love of the iconic festival – including how she once found romance here and how she had survived camping just hours before her slot – there was no question that the feeling was reciprocal from the crowd, who wholeheartedly sang along to her hits ‘Real Man’ and ‘The Perfect Pair’. Beabadoobee, you have our heart. (LD)
Japanese Breakfast arrives in style
Japanese Breakfast’s Glastonbury debut was long overdue. In 2023, Michelle Zauner’s band were scheduled to play the Other Stage but were forced to pull out at the 11th hour due to travel delays. Finally on Worthy Farm, the band made up for lost time with a set largely culled from their last two albums, ‘For Melancholy Brunettes (& Sad Women)’ and ‘Jubilee’. ‘Honey Water’ and ‘Mega Circuit’ dazzled under the sweltering mid-afternoon sun, Zauner bouncing around the stage in a big white hat that felt perfectly crafted for the romantic, artistic ‘For Melancholy Women’ era. (RD)
Weezer reign eternal
“Glastonbury, are you ready for Weezer time?” Rivers Cuomo asked at the start of their set at the Other Stage. The sea of hands in a ‘W’ formation that shot up quickly gave the frontman had his answer. Much like Pulp, the Los Angeles hitmakers had played here back in 1995, too – and based on the raucous response they got for hits like ‘Beverly Hills’ and ‘Buddy Holly’, it felt like no time had passed at all. Once a Weezer fan, always a Weezer fan. (LD)
Kneecap’s party for solidarity
“Shame on Glastonbury, they have destroyed it with one pathetic band,” the words of Sharon Osbourne rang out over the PA – not the future president of the Kneecap fan club. She has been one of the loudest critics of the Irish rap trio since their “fuck Israel” Coachella message, leading to a tornado of attention. In it’s wake: countless headlines and a highly-publicised terror charge and a lot of disagreement over this – one of the biggest and most-talked about Glastonbury sets of the weekend.
Tens of thousands of fans closed off the area with the field at capacity long before Kneecap took to the stage. Palestinian flags flew and a relentless rave began with no tabloid fodder hate speech – but they’re not fans of “shit Jeremy Corbyn” Keir Starmer – just banger after banger and words of love for the Irish language and for solidarity. Móglaí Bap shared the “disclaimer” that there should no “riots outside court” when currently “free man” Mo Chara reappears, adding that focus should be on solidarity and “just support for Palestine”.
Their star was on the ascent with five stars going to their debut album, BAFTA-winning biopic and epic live show, while tabloids only fan the flames of attention. Still, they maintained that “they are not the story” and all eyes should be on how “nothing compares to the suffering of Palestinians”. With a thunderous new song thrown in a set closed with the hedonistic ‘Get Your Brits Out’ into ‘H.O.O.D’ and ‘THE RECAP’, this was a feral and feel-good rave of defiance and unity. (AT)
Amyl & The Sniffers give it some real aggy headline energy
Over three days since the gates opened, no one brought the energy to the Other Stage quite as intensely as Australian punk group Amyl & The Sniffers. Delivering the electrifying ‘Security’, ‘Some Mutts’, and ‘Hertz’, the unfiltered vigour of the band was contagious and one that gave even that night’s headliner, Charli XCX, a run for her money. (LD)
Pulp’s worst-kept secret
“Sorry, the people who were expecting Patchwork,” began Jarvis Cocker to the biggest gathering that Glastonbury 2025’s Pyramid Stage had seen at that point in the weekend. “Did you know we were gonna play? How?”
Secret sets don’t come much less secret than this, but that didn’t put a dampener on the relentless rush that only a set of pure wonky pop from indie’s different class. New cuts from comeback album ‘More’ already feel like old friends, ‘Sorted For E’z & Whizz’, felt like the unofficial Glasto anthem, and a Red Arrows fly-past during ‘Common People’ sealed the deal: Oasis mania may be about to take the second coming of Britpop to another level, but somewhere in a field in Glastonbury ‘Pulp Summer’ was all that mattered. Read the full NME review here. (AT)
Haim top everything
When Haim first played at Glastonbury, it was on The Park, and 13 years later, they returned to that same stage in a much different phase of their lives. The band are now one of the most established indie-pop groups going, can easily command arenas, and in Alana Haim, have an Oscar-nominated actor among their number – not something you would have had on your bingo card in 2012.
Celebrating their fourth album ‘I Quit’, the sister trio played new songs and old favourites during a secret set, battering their floor toms for ‘Now I’m In It’ and sharing dating horror stories on a screen behind them during ‘Relationships’. “This tops everything,” Alana told the crowd while reflecting on that first-ever Worthy Farm performance, and she might just be right. (RD)
RAYE shows us a headliner in waiting
This Saturday marked a huge milestone for RAYE. Two years after her heartwarming afternoon performance, the Mercury-nominated singer-songwriter was back at the Pyramid Stage for the 2025 sunset slot, and took things up a notch.
“I’m so nervous right now… but excited,” she exclaimed after kicking off the set – a pretty fitting statement as she made her entrance by bursting out of a box labelled “fragile”. What followed was an epic spectacle that saw the crowd glued to her every move as she was backed by a full brass band, surrounded by pyro, and bringing the techno vibes to the main stage. It’s only a matter of time before she advances again to headliner status, and we can’t wait to see it. (LD)
Skepta shuts down The Other Stage as stunning replacement
One can’t lie about being absolutely devastated that Deftones pulled out at the last minute – made all the more painful by their stellar setlist and teasing new music at Crystal Palace the very next night. The clash of scorched art-metal seeing the sundown before Charli’s big ‘Brat’ finale was set to be a worldie, but Skepta stepped in and didn’t disappoint.
A shit tonne of fans pegged it over to the Other Stage at the news. Pumped by the element of surprise, they absolutely had it as Skepps delivered a no-frills, all-bangers set and a taste of Big Smoke. The man knows how to shut it down. (AT)
Doechii makes herself a winner for life
“Everybody wanted to know what Doechii would do if she didn’t win… I guess we’ll never know,” played overhead as Thee Swamp Princess made her entrance, dressed as a school teacher and there to deliver a masterclass in rap.
What followed was an unforgettable, larger-than-life set that proved why she is one of the hottest names in hip-hop right now. From the silky vocals in ‘Anxiety’ to the charisma of ‘GTFO’, the Florida rapper became the uncontested queen of the West Holts stage with her Saturday set. Check out the full NME review here. (LD)
Charli XCX’s last big ‘Brat’ finale
Miss Partygirl herself was never going to put in a dull performance at Glastonbury and Charli’s ‘Brat’ victory lap was nothing short of incredibly good fun. The pop star rose to the occasion of headlining the Other Stage perfectly, bringing pyro (and a burning ‘Brat’ banner), attitude and all her best bangers to Worthy Farm. To do it all with no special guests made the set feel even more special and more of a statement – Charli XCX was in complete control and ruled the stage. Check out the five Brattiest moments here. (RD)
Westside Cowboy show what the Emerging Talent Competition is all about
“Good morning, Glastonbury,” Westside Cowboy gently echoed into the mic as they opened the Woodsies stage on Sunday morning. For their third set of the weekend, the four-piece started with a sombre acoustic vibe – perfectly aware that the audience were still weary from the mammoth sets from Charli XCX and Doechii the night before.
After a gentle start, they kicked things into gear with more powerful tracks like ‘I’ve Never Met Anyone I Thought I Could Really Love’ and ‘Alright Alright Alright’ – determined to prove why they beat off thousands of competitors to be named winners of the 2025 Emerging Talent Competition. This definitely won’t be the last we see of the rising Manchester band. (LD)
Gurriers’ noisy Sunday service
“This is big,” beamed Gurriers’ frontman Dan Hoff, looking out at the early Sunday morning crowd spilling into Woodsies. “There are a lot of people out there. Fuck.”
It’s a testament to the Irish punks’ reputation as one of the finest new live acts going that so many would defy their nuclear Glasto hangovers to be here, but Gurriers proved it worth our while. On stage, they’re an animated onslaught of noise, politics and pogoing as they rattle through their circle pit-inspiring anthems against “American imperialism”, how much they “fucking hate the Irish far-right”, national identity and calling for “a free fucking Palestine” – all weirdly anchored by the sheer magnetism of Charlie McCarthy elastic and acrobatic moves. This was the fiery Bloody Mary to the senses that we needed. (AT)
The Libertines’ good Ship Albion sails on
“I know why you got the front nice and early, I see you,” smiled Pete Doherty to some more mature ladies on the front rows, resplendent in Rod Stewart wigs, waiting it out for his following Legends slot. “Iiiiif ya want my body, aaaaand ya think I’m sexy, coooome on baby let me know,” he went on, arguably better than Rod himself? We’ll leave that to you.
Still, as legends in their own right, The Libertines and all their scratchy and ramshackle brilliance has only grown better with age and felt like a breeze on this hot Glasto afternoon. Backed by a replica of their beloved Albion Rooms in Margate and a string quartet in iconic red tunics, an older, wiser, more fine-tuned Libs shine. From the gentle grace of newer cuts ‘Merry Old England’ and ‘Shiver’ from 2023’s ‘All Quiet On The Eastern Esplanade’ to the indie grenades of ‘Up The Bracket’, ‘Boys In The Band’ and the closing ‘Don’t Look Back Into The Sun’, the more mature Libs proved that wherever they are on the bill, it’s always time for heroes somewhere. (AT)
Djo turns Worthy Farm upside down
There was a moment in Djo’s set where he – aka Joe Keery – scooched off to the side of the stage and took a seat to marvel at drummer Wesley Toledo’s impressive solo. The joy and awe on his face was genuine, and as the improvised rhythms got more complicated, Keery’s jaw dropped and he raised the can he was sipping from to the crowd in wonder.
It’s this kind of passion and enthusiasm for music that coursed through the whole of Djo’s set, and made it a delight to watch. By the time the final one-two of ‘Delete Ya’ and ‘End Of Beginning’ rolled around – with both given a huge reception – you were firmly on Stranger Things star Keery and his band’s side. (RD)
Royel Otis better not steal the groove – and don’t!
Amyl & The Sniffers weren’t the only Aussie band who were turning things up over at Glastonbury this year. Over at The Park stage on Sunday, former NME cover stars Royel Otis also broke out one of the most feel-good performances of the entire weekend and used the set to break out new single ‘Moody’. Standout moments included the renditions of their breezy tracks ‘Oysters In My Pocket’ and ‘Sofa King’, as well as the epic sing-along that followed as they broke out a cover of Sophie Ellis-Bextor’s classic ‘Murder On The Dancefloor’. Good vibes all round. (LD)
Rod Stewart sails away a legend
There was a sigh of disappointment across the left-leaning fans of Glasto when Rod Stewart‘s “give Farage a chance” interview dropped earlier in the week. Still, politics were put aside as the usual masses headed to the Pyramid for that teatime legends slot. With little time for chatter as he didn’t get the extra long showtime he “begged” for, Sir Rod does well to just rattle through the greats with a little help from Lulu, Mick Hucknall and a Faces reunion with his pal Ronnie Wood. What more could you expect from the duck-haired shagger? Not much, truth be told. Just look at how happy Michael Eavis was with his on-stage tribute. Legendary stuff. Read the full review here. (AT)
Turnstile: how to incite a proper pit
Unless you’ve been living under a rock, you’ll be well aware that Turnstile have a reputation as being one of the wildest bands on the hardcore scene right now — and with their blistering set on Sunday, their Glasto performance cemented them as the absolute daddies. Holding back on elaborate stage production and needless chatter between songs, Brendan Yates and co. turned their focus to the pounding music itself, and helped create volcanic moshpits that put even the biggest metal festivals to shame. Check out our full review here. (LD)
The Brian Jonestown Massacre take us to another world
Based on the number of posts that they had shared on social media in the run-up to their set, it was no secret that a return to Glastonbury was something that The Brian Jonestown Massacre had high hopes for. From the opening with 1997’s ‘Super-Sonic’ and moving through to renditions of classic tracks like ‘Anemone’ and ‘Pish’, the shoegaze icons brought the good vibes over to the West Holts stage on Sunday evening. From start to finish, the performance perfectly captured the feel of the festival and proved why Anton Newcombe and co. are still the masters when it comes to creating something both arrestingly beautiful and flawlessly executed. (LD)
Wolf Alice make a bid for the Pyramid
If ever there was an audition for future Pyramid Stage headliners, it was Wolf Alice’s Other Stage set on Sunday evening. During golden hour, this golden band gave the performance of the weekend, frontwoman Ellie Rowsell fully stepping into her rock god potential, and the full band firing on all cylinders. A special cover of Fleetwood Mac’s ‘Dreams’ sparkled in the sunlight, but it was the Wolf Al originals that really shone, whether the screaming punk of ‘Yuk Foo’ and ‘Play The Greatest Hits’ or the skyscraping romanticism of closer ‘Don’t Delete The Kisses’. When Glastonbury returns in 2027, it needs Wolf Alice at the very top of its bill. Check out the full review here (RD)
The Maccabees return to a field of superfans
“Hey everybody, guess what? We’re The Maccabees!” guitarist Felix White announced to The Park on Sunday night. The reunited band made their return to Worthy Farm as emphatic as the excitement in White’s sentence, delivering a set that felt like they’d never been away.
There were bangers aplenty in ‘Lego’, ‘First Love’ and ‘Can You Give It?’, and beautiful, emotional cuts like ‘Spit It Out’ and ‘Something Like Happiness’, plus surprises, too. Florence Welch made an unexpected appearance to aid ‘Love You Better’ and perform her own ‘Dog Days Are Over’, and to share in the sheer joy of having The Maccabees back in the world. “Do we have any Maccabees super fans in the crowd, ‘cause we definitely have one on stage,” she told the audience of kindred spirits. Check out the full review here (RD)
It’s Olivia Rodrigo, it’s Sunday, we’re in love
Closing out the Pyramid stage before a fallow year is no easy feat for any artist, yet with her eruptive showcase on Sunday night, Olivia Rodrigo pulled off the huge task with ease. Whether it was by engulfing the stage in flames in ‘Obsessed’ or by bringing out the legendary Robert Smith for heartfelt covers of The Cure’s ‘Friday I’m In Love‘ and ‘Just Like Heaven’, there wasn’t a dull moment across the performance. The next headliner planned for 2027 had better start planning their set now if they want to top this. Check out the full review here. (LD)
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