Since its humble origins on Worthy Farm in Pilton, Somerset, Glastonbury Festival has blossomed from a one-day “Pilton Pop, Folk & Blues Festival” in September 1970—hosted by dairy farmer Michael Eavis, drawing just 1,500 people at £1 a ticket—into the world’s largest greenfield music and performing-arts gathering, spanning some 1,500 acres and welcoming over 200,000 fans every summer.
In its very first year the advertised headliners, The Kinks and Wayne Fontana & the Mindbenders, pulled out and were replaced at short notice by Tyrannosaurus Rex, setting a precedent for legendary last-minute saves and memorable “who’s who” line-ups. Since then the Pyramid Stage has been graced by icons from David Bowie (1971) to Van Morrison (1982, 1987, 1989); Paul McCartney (2004) and Coldplay (2005 and four more times—more than any other act to date); to Radiohead (1997, 2003, 2017) and Arctic Monkeys (2007, 2013, 2023) among hundreds of others who’ve defined eras of pop, rock, hip-hop and beyond.
Nestled under Glastonbury Tor on the rolling Somerset Levels, the farm doubles as a working dairy outside festival season. To protect the turf, organisers observe “fallow years” roughly every five–six years—in 1988, 1991, 1996 and again in 2026—to let the land and its resident herd recover from the crush of quarter-million footsteps. One of the festival’s enduring icons, the Pyramid Stage itself, debuted in 1971 as a one-tenth scale replica of Egypt’s Great Pyramid—built over a “blind spring” and aligned on the ancient Pilton–Stonehenge leyline, tapping into Glastonbury’s millennia-old spirit of pilgrimage and performance.
A torrential downpour on Thursday evening washed away the dust and leaving the fields firm for thousands of revellers. By midday the sun was out in full – warm but never oppressive – and the festival burst into life.
Glastonbury’s magic lies not just in just its headliners, but in the sheer sprawl of stages and spaces that each offer their own unique flavour. Here’s a guided tour through some of the most iconic and under-the-radar corners of Worthy Farm.
Pyramid Stage
The beating heart of Glastonbury. This iconic structure has hosted legends from David Bowie to Beyoncé. It’s where the biggest names play to the biggest crowds — a rite of passage for artists and fans alike.
The Other Stage
Often dubbed the “second main stage,” it’s where you’ll catch major acts with a slightly edgier or alternative bent. Think indie rock, hip-hop, and electronic heavyweights — all with a more intimate feel than the Pyramid.
Woodsies
Formerly known as the John Peel Stage, Woodsies is nestled in a tree-lined glade and champions genre-defying artists. It’s a haven for indie darlings, electronic innovators, and surprise late-night sets that feel like secret gigs.
Arcadia
A post-apocalyptic playground of fire, lasers, and bass. This is where the spider lives — a towering, flame-throwing DJ booth made from recycled military hardware. Expect jaw-dropping aerial performances and late-night raves that feel like another planet.
BBC Introducing
The launchpad for tomorrow’s headliners. This small but mighty stage has seen the likes of Florence + The Machine and Ed Sheeran before they were household names. It’s a must-visit for discovering raw, rising talent.
The Park
A hillside sanctuary with panoramic views and a beautifully curated lineup. Expect everything from cult favourites to surprise sets (hello, Pulp 2025). The ribbon tower nearby is a perfect sunset perch.
West Holts
A melting pot of global grooves, funk, soul, reggae, and politically charged performances. It’s where you dance with strangers and leave with new perspectives.
Left Field
Curated by Billy Bragg, this is where music meets activism. Expect panel discussions, spoken word, and fiercely political sets — a space for minds as much as music.
The Green Fields
A quieter, spiritual side of Glasto. Think healing fields, permaculture gardens, and workshops on everything from yoga to blacksmithing. It’s the soul of the festival.
Theatre & Circus Fields
A riot of colour and creativity. From cabaret to acrobatics, walkabout performers to comedy tents — it’s a carnival within a carnival.
Shangri-La
When the sun goes down, this is where the wild things go. A sprawling, immersive late-night district with themed venues, art installations, and some of the most boundary-pushing music on site.
Each area has its own vibe, its own tribe, and its own unforgettable moments. Whether you’re chasing headliners or stumbling into a poetry slam at 2am, Glastonbury rewards the curious. Let me know if you’d like a map-style guide or a suggested route for first-timers!
Despite the doors opening on Wednesday, allowing revellers to pitch up, find their bearings and plan for the onslaught to come, many of the stages didn’t kick off until the Friday, this is where we pick up the action.
Friday Highlights
The 1975’s headline debut at Glastonbury 2025 was a theatrical and emotionally charged triumph, blending irony, nostalgia, and sincerity in perfect measure. Matty Healy led a career-spanning set that included hits like “Chocolate,” “Love It If We Made It,” and “The Sound,” alongside unexpected mashups and heartfelt acoustic moments. The staging was minimalist but symbolic, complete with a vintage car, a trumpet, and a mid-set costume change that mirrored the band’s evolution. Healy balanced cheeky bravado with genuine reflection, telling the crowd, “We don’t want our legacy to be one of politics, but of love and friendship.” It was a unifying, cathartic performance that confirmed The 1975’s place among Glastonbury’s greats.
Alanis Morissette (Pyramid Stage, 18:15–19:15) Alanis Morissette's Glastonbury debut on the Pyramid Stage was a powerful mix of nostalgic anthems and emotional resonance, with Jagged Little Pill highlights sparking mass singalongs and catharsis. Her updated lyrics and visuals underscored her ongoing commitment to inclusivity and social awareness, while moments like the haunting “Uninvited” and volcanic “You Oughta Know” showcased her insatiable vocal fire. Closing with “Thank U,” she left the crowd both elated and moved—proof that her voice and message still matter deeply, decades on.
Biffy Clyro’s Friday night Pyramid Stage set at Glastonbury 2025 was a thunderous, emotionally charged showcase of their alt-rock legacy and future ambitions. Opening with their new single “A Little Love,” the Scottish trio tore through a setlist packed with fan favourites like “Mountains,” “Biblical,” and “Black Chandelier,” each delivered with ferocious precision. Frontman Simon Neil’s tribute to the late Brian Wilson — a tender a cappella snippet of “God Only Knows” — brought a moment of poignant stillness to an otherwise explosive performance. The band’s chemistry was electric, their energy relentless, and their connection with the crowd undeniable, as thousands bounced, sang, and roared along. It was a set that not only cemented their status as festival heavyweights but left many wondering how The 1975 would follow such a commanding act
Supergrass (Pyramid Stage, 12:00–13:00) kicked off the main stage with breezy Britpop charm, their jaunty guitar hooks and youthful exuberance setting a celebratory tone for the weekend.
Wet Leg’s Friday afternoon set on the Other Stage was a bold, high-octane unveiling of their evolved sound and image, marking a confident leap from indie darlings to full-blown festival powerhouses. Opening with “Catch These Fists,” Rhian Teasdale flexed both her biceps and her band’s sharpened edge, tearing through fan favourites like “Wet Dream” and “Oh No” alongside punchy new tracks from their upcoming album Moisturizer. The crowd’s scream during “Ur Mum” was reportedly their loudest ever, a cathartic moment that captured the band’s playful defiance. A touching dedication of “Davina McCall” to Teasdale’s partner added emotional depth to a set otherwise brimming with swagger and noise. They closed with “CPR” after the inevitable chaos of “Chaise Longue,” signalling that Wet Leg are no longer just riding the wave—they’re steering it.
Franz Ferdinand (Other Stage, 17:15–18:15) served up razor-sharp indie-rock grooves, every riff perfectly timed to send the packed field into motion.
Busta Rhymes (Other Stage, 20:30–21:30) unleashed a high-octane hip-hop storm, his rapid-fire flow and dynamic stagecraft proving he still commands the crowd like no other.
En Vogue’s Friday evening set on the West Holts Stage was a masterclass in vocal harmony, glamour, and timeless R&B power. Opening with “My Lovin’ (You’re Never Gonna Get It),” the trio delivered a hit-packed performance that included “Free Your Mind,” “Don’t Let Go (Love),” and a medley of funk and soul classics that turned the field into a joyous dancefloor. Their cover of Silk Sonic’s “Leave the Door Open” added a sultry, modern twist, while a surprise mashup featuring “Proud Mary” and “Lady Marmalade” had the crowd roaring with delight. The atmosphere was relaxed but electric, with Pauline Black of The Selecter later calling it one of her personal highlights of the day. En Vogue proved that three decades on, their voices — and their message of empowerment — remain as fierce and fabulous as ever.
Denzel Curry (West Holts, 19:00–20:00) pounded the crowd with relentless energy, his fierce bars and booming basslines turning the West Holts into a riotous dance-pit.
PinkPantheress (Woodsies, 19:30–20:30) enchanted the woodland tent with her ethereal drum-n-bass-infused pop, delicate vocals drifting through the trees like a lullaby for late-evening wanderers.
Four Tet (Woodsies, 22:30–23:45) closed out Woodsies with a hypnotic electronic voyage, weaving shimmering percussion and kaleidoscopic samples into a spellbinding night-time odyssey.
Anohni & The Johnsons’ Friday night headline set on the Park Stage was a breathtaking, emotionally charged meditation on grief, climate collapse, and radical empathy. Draped in white and framed by luminous visuals of coral reefs and tropical fish, Anohni delivered songs like “Why Am I Alive Now,” “4 Degrees,” and “Drone Bomb Me” with operatic control and devastating clarity. The arrangements — stripped of their original electronic textures — were reimagined with strings, reeds, and percussion, creating a haunting, almost sacred atmosphere1. Her voice, keening and unwavering, held the crowd in silent awe as she stood fixedly before them, no longer hidden but fully present as a witness to planetary loss. It was not just a performance, but a reckoning — harrowing, luminous, and utterly unforgettable.
Saturday Highlights
Neil Young & The Chrome Hearts’ Saturday night headline set at Glastonbury 2025 was a masterclass in raw, unfiltered performance, eschewing spectacle for soul. Dressed in flannel and wielding only his acoustic guitar and harmonica, he opened with “Sugar Mountain” and moved between tender ballads and thunderous rock with The Chrome Hearts. The set’s emotional peak came with “Harvest Moon,” performed under a single spotlight, followed by a searing “Hey Hey, My My (Into the Black)” that bordered on doom metal. Despite a thinner crowd due to clashes with other acts, Young’s understated magnetism and refusal to compromise captivated those present — and eventually, the BBC audience too, after a last-minute broadcast U-turn
Pulp (Pyramid Stage, secret set as “Patchwork”) It was the worst-kept secret of the weekend — and the most euphoric payoff. At 6:15pm on Saturday, the Pyramid Stage screens flickered with the words “Are you ready for… Pulp summer?”, confirming what thousands had suspected: the mysterious “Patchwork” slot was, in fact, Pulp, returning to Glastonbury exactly 30 years and four days after their iconic 1995 headline set. The performance began with over 20 dancers in black-and-white patchwork outfits taking the stage, a theatrical nod to the band’s alias. Then came the unmistakable flutter of Candida Doyle’s keyboard intro to “Sorted for E’s & Wizz,” and the crowd erupted. Jarvis Cocker, ever the showman, greeted the audience with a cheeky grin: “Did you know we were gonna play? How?”
RAYE (Pyramid Stage) brought elegance and emotional power, her orchestral arrangements and soulful vocals making her set one of the weekend’s most talked-about.
Charli XCX’s headline set on the Other Stage at Glastonbury 2025 was a bold, bass-heavy celebration of her Brat era, delivered with unapologetic solo swagger. Dressed in black leather and backed by stark white lighting, she powered through a 20-song set that included “Von Dutch,” “360,” and a viral performance of “Apple” featuring Gracie Abrams as the onstage dancer. With no live band or guest appearances, Charli leaned into minimalism and autotuned vocals, creating a rave-like atmosphere that thrilled her fans and divided critics. Her response to the backlash was characteristically defiant, calling the discourse “fascinating” and defending her performance as deliberately confrontational art. Love it or loathe it, her set was a statement — and one of the most talked-about moments of the weekend.
Skepta (Other Stage) returned with swagger and precision, his grime classics igniting mosh pits and proving his enduring influence.
Kneecap’s Saturday afternoon set on the West Holts Stage was a defiant, politically charged spectacle that drew one of the weekend’s largest and most impassioned crowds. Arriving to chants of “Free Palestine” and a backdrop of projected political statements, the Irish rap trio launched into “Better Way to Live” with Fontaines D.C.’s Grian Chatten’s vocals echoing across the field. Mo Chara, recently granted bail on a terrorism charge, addressed the controversy head-on with sharp wit and unflinching commentary, including a crowd-wide chant of “Free Mo Chara” and a pointed jab at Prime Minister Keir Starmer. Despite the BBC’s decision not to stream the set live, a fan’s viral TikTok broadcast ensured the performance reached millions, reinforcing the group’s message of resistance and visibility. It was a set that blurred the lines between protest and performance — incendiary, unapologetic, and unforgettable.
Taking to the West Holts Stage on Saturday afternoon, Bob Vylan delivered one of the most incendiary and talked-about sets of the entire festival. Known for their fusion of punk, grime, and uncompromising social commentary, the duo—Bobby and Bobbie Vylan—didn’t hold back. Their performance was a visceral, high-energy barrage of noise, defiance, and raw emotion, with tracks like “We Live Here,” “GYAG (Get Yourself a Gun),” and the live debut of “Slam Dunk” igniting the crowd. But it wasn’t just the music that made headlines. Midway through the set, Bobby Vylan led chants of “Death to the IDF” and “free, free Palestine,” sparking immediate controversy and a wave of national debate. Political slogans were projected behind them, including “Free Palestine – United Nations have called it a genocide – the BBC calls it a ‘conflict’.” The BBC, which had been live-streaming the set, later issued a statement expressing regret for not cutting away, and Ofcom confirmed it was investigating the broadcast. Despite the backlash, Bobby stood firm, later posting on Instagram: “I said what I said.” He also brought his daughter onstage during “Dream Bigger,” adding a deeply personal layer to a performance that was as much about legacy as it was about protest.
Doechii (West Holts) closed the stage with a genre-blending, high-energy performance that had the crowd bouncing from start to finish.
After 13 years away from UK stages, Scissor Sisters made their triumphant return with a Saturday night Woodsies set that was part disco inferno, part Broadway spectacle, and entirely unforgettable. From the moment they launched into “Laura,” it was clear this wasn’t just a reunion — it was a full-blown celebration. The setlist was a glittering journey through their catalogue, including “She’s My Man,” “I Don’t Feel Like Dancin’,” and a euphoric “Take Your Mama” featuring Jessie Ware, who joined them onstage in a surprise cameo. They even dropped a sultry cover of Pink Floyd’s “Comfortably Numb”, reimagined with their signature glam-pop flair. But the night’s most jaw-dropping moment came during “Invisible Light,” when Sir Ian McKellen appeared to deliver his iconic spoken-word monologue from the track. Draped in white and visibly moved, the 86-year-old actor was met with a thunderous chant of “Oh, Ian McKellen” to the tune of “Seven Nation Army” — a moment so emotional he was seen backstage clasping his face in disbelief. The set closed with a triple-threat finale: “Filthy/Gorgeous” (with Beth Ditto), “Music Is the Victim” (again with Jessie Ware), and a confetti-drenched “Let’s Have a Kiki” that turned Woodsies into the biggest queer dancefloor in Somerset.
Father John Misty (Woodsies) offered a cinematic, melancholic set that felt like a Wes Anderson film scored live — lush, ironic, and deeply moving.
Haim (Park Stage) made a surprise appearance, their sibling synergy and tight harmonies lighting up the hillside with California sunshine.
Gary Numan’s Saturday evening set on the Park Stage was a gothic, industrial spectacle that fused theatrical flair with synth-driven nostalgia. Dressed in black and flanked by a band resembling a post-apocalyptic cult, he powered through a setlist that included “Cars,” “M.E.,” and a thunderous “Are ‘Friends’ Electric?” that closed the show with spine-tingling intensity. Visuals of crucified figures and runic road signs added a dystopian edge, while his daughters Raven and Persia joined him onstage for haunting guest vocals.
Lucy Dacus (Park Stage) gave a tender, introspective performance that felt like a warm hug in the middle of the festival chaos.
The Script (Pyramid Stage) leaned into crowd-pleasing ballads and singalongs, with “Breakeven” and “Hall of Fame” uniting fans old and new.
Nova Twins’ Saturday afternoon set at Woodsies was a feral, genre-smashing riot that proved once again why they’re one of the UK’s most vital live acts. Dressed in cyberpunk neon and flanked by a wall of amps, Amy Love and Georgia South tore through tracks like “Antagonist,” “Cleopatra,” and “Choose Your Fighter” with blistering precision and unrelenting energy. The duo’s chemistry was magnetic, with South’s basslines shaking the tent and Love’s vocals cutting through like a battle cry. Between songs, they spoke about empowerment, identity, and the importance of carving out space for women of colour in rock — earning roars of approval from a packed, sweaty crowd. It was a defiant, high-octane performance that left Woodsies reeling and reaffirmed Nova Twins as future festival headliners in waiting.
Yussef Dayes (West Holts) brought jazz fusion to the forefront, his drumming a hypnotic centrepiece in a set that felt both spiritual and explosive.
Japanese Breakfast (Park Stage) shimmered with dream-pop textures and emotional clarity, her set a hidden gem for early-evening wanderers.
Sunday Highlights
Olivia Rodrigo’s Pyramid Stage headline set at Glastonbury 2025 was a dazzling, emotionally charged finale that silenced any doubts about her place atop the bill. She tore through hits like “Vampire,” “Drivers License,” and “Good 4 U” with a metal-tinged backing band and theatrical flair, blending punk energy with pop precision. The night’s defining moment came when she brought out Robert Smith of The Cure for duets on “Friday I’m In Love” and “Just Like Heaven,” a surprise that sent the crowd into raptures. Rodrigo’s ability to shift from the ferocity of “Brutal” to the tenderness of “Traitor” showcased her range and emotional authenticity1. It was a milestone performance — polished, passionate, and proof that she’s not just a rising star, but a generational voice.
Rod Stewart’s Sunday Legends Slot at Glastonbury 2025 was a razzle-dazzle masterclass in showmanship, packed with hits, sequins, and surprise guests. Backed by a powerhouse band and glamorous singers, he tore through classics like “Maggie May,” “Da Ya Think I’m Sexy?” and “Sailing,” pausing only for flamboyant costume changes and cheeky banter. The crowd roared as Ronnie Wood, Mick Hucknall, and Lulu joined him onstage, turning the Pyramid into a rock ’n’ roll hall of fame. Even a mid-set shirt swap became a moment, with his backing vocalists covering “Lady Marmalade” and “Proud Mary” in dazzling style. It was a joyful, hit-stuffed celebration that proved Sir Rod still knows exactly how to steal the show.
Nile Rodgers & Chic (Pyramid Stage) turned the field into a disco inferno, with “Le Freak” and “Good Times” hailed by fans as one of the best sets in years.
The Libertines (Pyramid Stage) delivered a raucous early-afternoon set, with Pete Doherty and Carl Barât rekindling their chaotic chemistry on “Don’t Look Back Into the Sun”.
The Selecter’s Sunday morning Pyramid Stage set was a jubilant celebration of 2-Tone ska and righteous energy, led by the ever-charismatic Pauline Black OBE. Opening with “Three Minute Hero,” the band wasted no time in getting the early crowd skanking, their brass section punching through the Somerset air with joyful urgency. Tracks like “On My Radio” and “Too Much Pressure” turned the field into a time-warped dancehall, with fans of all ages bouncing in unison. Black’s stage presence was magnetic, blending sharp political commentary with warmth and humour, reminding everyone why she’s still the Queen of Ska. It was a spirited, defiant performance that proved The Selecter remain as vital and vibrant as ever.
The Prodigy’s Sunday night headline set on the Other Stage was a ferocious, full-throttle tribute to their late frontman Keith Flint, with Maxim declaring, “This is his night!” before launching into “Voodoo People”. The band tore through a blistering setlist that spanned their entire career — from “Firestarter” and “Breathe” to “Invaders Must Die” and “Out of Space” — with visuals of Flint flashing across the screens and his vocals woven into remixed versions of their classics1. Liam Howlett’s production was relentless, and drummer Leo Crabtree’s live percussion added a visceral punch that turned the field into a rave battlefield. The emotional weight of the performance was matched by its intensity, with fans and critics alike calling it one of the most powerful sets of the weekend. It wasn’t just a comeback — it was a resurrection, and a reminder that The Prodigy’s fire still burns white-hot.
Wolf Alice (Other Stage) delivered a euphoric sunset set, with “Bros” turning into a field-wide singalong of friendship and nostalgia.
Snow Patrol (Other Stage) brought heartfelt anthems and a surprise acoustic interlude, with “Chasing Cars” echoing across the hills.
St. Vincent’s Sunday evening set at Glastonbury 2025 was a theatrical, genre-defying triumph that turned the Woodsies Stage into a cathedral of art-rock intensity. Opening with a ferocious rendition of “Broken Man,” Annie Clark set the tone for a performance that fused angular guitar work, primal screams, and moments of aching vulnerability. Highlights included her shredding “Fear the Future” while lying on her back, prowling the stage during “Pay Your Way In Pain,” and delivering “New York” while standing on the guardrail, held aloft by a security guard2. The setlist drew heavily from All Born Screaming, with tracks like “Flea” and “Big Time Nothing” showcasing her continued evolution as both a guitarist and performer3. It was a bold, immersive experience that reaffirmed St. Vincent’s place as one of the most visionary artists of her generation.
Jorja Smith (Woodsies) closed the stage with sultry vocals and soulful poise, her set a smooth balm after a wild weekend.
Sprints (Woodsies) returned for a second set, this time with even more ferocity, cementing their status as one of the festival’s breakout acts.
The Maccabees’ long-awaited return at Glastonbury 2025 was a triumphant, emotionally charged headline set on the Park Stage that felt both intimate and monumental. Opening with “Latchmere” and peaking with a euphoric “First Love,” the band delivered a career-spanning set that reminded fans why their absence had been so deeply felt. A surprise appearance by Florence Welch for “Love You Better” and a soaring cover of “Dog Days Are Over” elevated the encore into a moment of pure festival magic. Frontman Orlando Weeks was visibly moved, thanking the crowd for “keeping the faith,” while Felix White closed the set with a quiet nod to Palestine, adding a note of solidarity to the celebration. It was a glorious, full-circle performance that confirmed The Maccabees are not just back — they’re essential.
Kae Tempest’s early evening set on the Park Stage was a spellbinding fusion of spoken word, hip-hop, and raw emotional truth that held the hillside crowd in rapt attention. Opening with “Europe Is Lost,” he delivered a set that felt more like a sermon than a performance — urgent, poetic, and deeply human. Backed by minimalist beats and atmospheric lighting, Tempest’s delivery was both fierce and tender, especially during “People’s Faces” and “Hold Your Own.” Between tracks, he spoke about connection, resistance, and the power of language, drawing cheers and quiet tears in equal measure. It was a soul-stirring reminder that sometimes the most powerful instrument on a festival stage is simply a voice with something to say.
Cymande (West Holts) brought vintage funk and good-time grooves, their cult classics like “Bra” and “Brothers on the Slide” getting the crowd moving.
Overmono (West Holts) closed the stage with a pulsating electronic set, blending breakbeats and ambient textures into a hypnotic finale.
Fatboy Slim’s Glastonbury 2025 run was nothing short of legendary, marking his 100th performance at the festival with a series of electrifying sets across Arcadia, Shangri-La, and the Luna stage. His Sunday surprise B2B set with son Woody Cook was a heartwarming, high-energy moment, blending generations of dancefloor magic in front of a euphoric crowd. From “Praise You” to “Right Here, Right Now,” Norman Cook delivered his signature mix of big beats, cheeky visuals, and crowd-inciting charisma. The Luna stage set in particular saw him incite a mass rave under a sky of lasers and fire, proving that age has only sharpened his party-starting instincts. It was a milestone celebration that felt both personal and universal — a Glasto moment for the history books.
As the final notes vanished into the Somerset sky, Glastonbury 2025 closed its gates on another unforgettable chapter—one made possible not just by the artists, but by the thousands of volunteers who kept the magic alive behind the scenes. From the ever-smiling stewards and tireless litter-pickers to the security teams who kept us safe, and the welfare and first aid crews who were always on hand with calm reassurance, their dedication was the heartbeat of the festival. And let’s not forget the round-the-clock catering heroes, serving everything from vegan burritos to wood-fired pizza, fuelling hundreds of thousands of happy campers with warmth and flavour.
With the fields now resting ahead of a fallow year in 2026, Worthy Farm will take a well-earned breather—its soil, like its people, needing time to recover and renew. But if you're already feeling the post-Glasto blues, fear not: most of the weekend’s highlights are available via the BBC’s Red Button and iPlayer services, offering a front-row seat to the magic from the comfort of your sofa.
Until next time, Glastonbury. Thank you for the music, the mud (or lack thereof), and the memories.
Who was YOUR favourite act from the festival? Tell us in the comments below!