The real magic happens wandering between stages like Woodsies, Avalon, Park, and Avalon, catching those raw, unscripted moments where you stumble on a band that grabs your guts or blows your mind — acts off the radar of the main broadcast. And when the sun dips, the after-hours chaos of Shangri-La and Arcadia keeps the adrenaline pumping long after the headliners have packed up.

Oh, and this year was scorchingly dry and dusty — wellies stayed home, replaced by dust masks and plenty of sunscreen. The fields were cracked and baked, adding a gritty edge to the usual Glasto charm.

FRIDAY: Woodsies Mayhem and Avalon’s Rock Revival

Woodsies is my Glasto sanctuary — a tented haven of shade and sonic gems. Lorde kicked things off with a surprise set, but the crowd was so packed it felt impossible to get close. Luckily, the real rock carnage came soon after.

Fat Dog tore through a set of riotous, sweaty rock anthems, frontman Joe Love diving into the crowd like a livewire. If you haven’t seen them live, get ready for a mayhem-fueled rollercoaster of punk-infused energy that cements their status as one of the UK’s most electric live acts.

This band doesn’t do “performances.” They do possessions. Frontman Joe Love hurled himself into the crowd like a human firework, igniting mass euphoria. Think punk-rock-church with dancing. If you haven’t seen Fat Dog live yet, what are you doing with your life?

Next up was Shed Seven, returning to Glasto with loud, defiant sing-alongs that filled the tent with nostalgia and raw emotion. Their setlist, packed with classics like Chasing Rainbows and Going For Gold, echoed across the festival, reminding us why they’re still rock royalty.

Then came Lola Young, a furious breath of fresh air with a bite of rebellion reminiscent of ’90s grunge angst — a fiery young voice screaming for a generation, closing her set with Messy, leaving the crowd hungry for more.

After Lola Young’s set, Blossoms took the Woodsies stage, delivering their polished indie rock with highlights like Your Girlfriend, I Can’t Stand It, and Honey Sweet. Their evolving sound and Tom Ogden’s magnetic stage presence make them a band to watch as potential headliners when Glastonbury returns in 2027 (fallow year 2026).

I shuffled over to Avalon, where The Magic Numbers celebrated 20 years of melodic goodness, with classics like Forever Lost and Love Me Like You Do, filling the air with timeless indie rock vibes. Their harmonies are still tighter than your jeans on day three. Avalon Fields swayed with happy faces — some wearing dust masks like they were at a post-apocalyptic folk rave. Honestly, not far off.

Then things got rowdy.

Avalon’s evening was a double-header of pure rock energy: Terrorvision brought back ’90s anthems like Discoteque Wreck and Tequila with infectiously energetic performances, no nostalgia filters needed here.

And just when you thought things couldn’t get more delightfully unhinged, The Fratellis arrived. They started an alternative rock party, igniting Avalon with hits like Chelsea Dagger, throwing in the mix a heartfelt tribute to firefighters who saved frontman Jon Fratelli’s flat during a fire. The personal story added weight before closing with their version of Runaround Sue, turning the stage into one big celebration of survival and rock ‘n’ roll spirit.

SATURDAY: Woodsies Deep Cuts and Electrifying Energy

Saturday afternoon, Woodsies was a crush of bodies eager for Father John Misty. Josh Tillman’s theatrical set focused on his album Mahashmashana and felt like a poetic rebellion channelling the spirit of Jim Morrison himself — a poetic shaman in rock’s shadow. Mental Health hit like a jolt through the packed tent.

Next up, Tom Odell slowed things down with soulful piano ballads and intimate vocals. His tribute to The Beach Boys was a tender highlight — a brief, emotional pause in a day full of noise. Unfortunately, many chatting festival-goers missed this nuance, waiting for the evening headliners.

However — and it’s a big however — the area was closed off due to overcrowding. The problem? They did it without giving access to toilets. In 30°C heat. Festivalgoers were left with two choices: hold it and hope, or… innovate. Glastonbury, we love you, but please: don’t kettle people without loos.

SUNDAY: Punk Power, Provocative Rock, and Epic Finales

Sunday kicked off with Gurriers at Woodsies — a punk band from Dublin who managed to wake up a sunburnt, dehydrated crowd at 12:30pm. Not an easy feat. Think Idles meets Fontaines D.C. with a bit of bloody-minded punk righteousness. Definitely a band to watch if you’re into fierce, no-frills punk.

SPRINTS and Black Country, New Road followed, using their sets not only to deliver crushing rock but also to advocate passionately for Palestinian liberation. SPRINTS unleashed a hard punk punch while Black Country, New Road layered in unique, earthy textures that felt fresh and urgent.

Then came St Vincent, rocking Woodsies with a sensuous, emotionally charged set. Dressed in black and commanding the stage with electric guitars, Annie Clark’s performance was as provocative as it was powerful. Highlights included Broken Man, Fear the Future, and Cheerleader — a potent reminder that rock can seduce and subvert all at once.

Afterwards, I raced across the site (no easy feat) to catch Future Islands at the Park Stage. I first discovered these guys in 2015, and frontman Samuel T. Herring’s electrifying stage moves and unique voice still captivate. Tracks like Seasons (Waiting On You) had the crowd hooked.

And then — the moment I’d been waiting for — The Maccabees closing the Park stage. Reunited after eight years and absolutely crushing it. Their set was packed with anthems like Pelican, Feel to Follow, and Marks to Prove It, turning the evening into a communal singalong full of smiles and raised hands — a perfect send-off for the stage and the festival’s rock lovers.

Or… was it?

Because my night wasn’t done.

I raced (well, limped) back across Worthy Farm for one final act: The Prodigy. I was nearly turned away as they locked the area down due to overcrowding, but somehow — by sheer force of will and dust tolerance — I got in. It was deafening. It was cathartic. It was emotional. This was the stage I was meant to see them on in 2019, before Keith Flint passed. They paid tribute. We screamed. The dust flew. And it felt like the closing of a circle.

Until Next Time (And It’s Gonna Be A While)

No Glasto next year — 2026 is a fallow year, and the fields will rest. So until 2027, Worthy Farm…
may your crowds stay kind,
your dust stay bearable,
and your glitter stay banned (for good reason).

Words and photography for Metal Planet Music – Edyta Krzesak

The band is known for being loud and upfront with their political views, which some Glastonbury goers might find surprising, unpopular or unsetting. With the anti-King chant and Banksy-founded inflatable migrant boat that floated above the crowd they for sure weren’t shy in expressing their disappointment with the current state of affairs. Musically IDLES are a well-oiled machine, built to last, thrive live and share their emotions with the crowd. The band’s energy continues. Their sets are filled with real, raw emotions. Talbot screams his anger, hopes and disappointments into the microphone, while his bandmates dive into the crowd and play their guitars while crowd surfing.

There is also a real mosh-pit, orchestrated by Joe Talbot, who orders the crowd to split into two, already on the first song into their show (IDEA 01). This is not a ride for the faint-hearted. Their set is a rollercoaster of energy and emotions. The band doesn’t waste any minute from their headline set, it’s like they want to use their headline set, knowing it will get shown on national TV, to make a point and take a political stand. Mother hits into the previous governing party, while I’m Scum gets used as a platform to provide support for Palestine. If you think the music should be a form of relaxation, think again. This is the war. War for equality, peace, better life, for another human being. The lights complete the band’s declaration. CEASEFIRE NOW shows up on the stage screen during the final Rotweiller.

IDLES shows are never dull, but the Glastonbury headline set on The Other Stage was on the next level and it will be remembered for years to come.

IDLES played:
IDEA 01
Colossus
Gift Horse
Mr. Motivator
Mother
Car Crash
I’m Scum
The Wheel
Gratitude
Benzocaine
POP POP POP
Never Fight a Man With a Perm
Dancer
Danny Nedelko
Stick Song
Rottweiler

Words and photography for Metal Planet Music, Edyta Krzesak

The indie rockers from London are familiar to the festival crowds. They could be called “Glasto Veterans”. They have played the festival multiple times since 2011, appearing on Glastonbury’s main stages – Pyramid and Other Stage and almost every stage in between. This year saw their triumphant return to Woodsies (previously known as John Peel Stage).

The Vaccines‘ recipe for festival success is simple yet powerful – play the songs people love, play them loud, and engage with the crowd. Their setlist is a perfect festival gem, each tune adding energy and excitement. As the tent gets hotter and the volume rises, a sea of dancing fans is a testament to their ability to create a vibrant festival atmosphere.

The Vaccines played:
Love To Walk Away
Wreckin’ Bar (Ra Ra Ra)
I Can’t Quit
Post Break-Up Sex
Wetsuit
Your Love Is My Favourite Band
Discount de Kooning (Last One Standing)
The Dreamer
Headphones Baby
Jump Off The Top
Lunar Eclipse
Handsome
Heartbreak Kid
Jump Off The Top
Teenage Icon
I Always Knew
If You Wanna
All My Friends Are Falling In Love

Words and photography for Metal Planet Music – Edyta Krzesak.

It wasn’t the first Glastonbury rodeo for Josh Hommes and his bandmates. The band appeared on the Other Stage in 1999, 2002 and 2011. Over a decade later, they are back at Worthy Farm to close the festival’s second most significant stage.

The 15-song-long set brought QOTSA’s greatest hits and some of the songs from their latest album, In Times New Roman. Go With The Flow, No One Knows, The Way You Used To Do, A Song for The Dead, mixed perfectly with new tracks Paper Machete and Carnavoyeur.

The set is everything that you would expect from the rock veterans. It’s sweaty and noisy, triggers BBC warnings for vulgar language, and ends up with a perfect mosh pit. If you missed it, you can still catch up on IPlayer on demand or grab pair of tickets for the upcoming UK arena tour.

The End Is Nero – 2023 European Tour – UK & Ireland leg
14th November – Manchester – AO Arena
15th November – London – The O2
18th November – Glasgow – OVO Hydro
19th November – Birmingham – Resorts World Arena
20th November – Stockton-on-Tees – Globe Theatre
22nd November – Dublin – 3Arena

And even with the line-up already announced, the festival always keeps some of the best spots for TBC acts or made-up band names, like The ChurnUps.

There was a lot of speculation about who the mysterious ChurnUps were. Red Hot Chilli Peppers, Pulp and Foo Fighters were all possible suspects for the Friday slot at The Pyramid stage. While the public was still blissfully unaware, the die-hard FF fans did their homework and figured out Dave Grohl and co would play the slot.

The band and festival organisers left plenty of hard evidence and clues. In the letter Foo Fighters sent their subscribers, Dave referred to overcoming Taylor’s loss as “churning up these emotions together.” There was a mysterious ChurnUps Twitter account publishing a picture of Pyramid Stage with FF baseball cap a few days ahead of the festival before the gates even opened for the public. In the days leading to the festival, the Official Glastonbury Festival Twitter account (and website) posted a new graphic with a Pyramid stage and white birds flying around.

At first glance, it could look like white doves, but if you pay attention to details, you could quickly spot the white hawks as a tribute to the late Taylor Hawkins. And, of course, it was exactly 25 years ago, and it was the same time slot that Foo Fighters played Pyramid Stage in 1998. A lot of coincidence or evidence that Foos were coming to Glastonbury.

In the last attempt to deceive the crowds, Losing My Religion by REM blasted from the speakers with the ChurnUps logo on the Pyramid Stage just moments before the band took the stage. But looking at the amount of Foo Fighters t-shirts and flags in the crowd, the cat was already out of the bag. And when the ChurnUps logo melted and morphed into the FF sign, a loud roar and cheer took over all other sounds in the area. They were finally here: Dave, Chris, Pat, Nate, Rami and Josh Freese.

They started with one of their all times classics – All My Life. You can tell it is a different affair from the first beats without Taylor behind the drums. The die-hard fans will miss Tay’s signature snippet before the drums come into the play like he was too eager to play to sit back and wait for his part. Josh Freese is spot on, on his part and adds a few extra twists, challenging the fans used to Tay’s way of playing. The band sounds tight and fresh, enjoying the evening like their fans gathered on the fields.

Paraphrasing Alfred Hitchcock’s “The performance should start with an earthquake, and then the stress should continuously increase”. No Son Of Mine follows the classic banger and surprisingly evolves into a mini medley with riffs from Metallica’s Enter Sandman and Black Sabbath’s Paranoid. Brace yourself Glastonbury! The mighty Foo Fighters are back!

Learn To Fly is another crowd-pleaser, followed by the first song from the new album But Here We Are – Rescued. The song sounds crisp and powerful, confirming that Foo Fighters aren’t dad-rock legends cutting off coupons from the glory days but a strong-going rock machine with more to offer.

Pretender brings the crowd near the boiling point as if the weather isn’t hot; the Foos are here to make you jump, sweat and sing your heart out. Even Dave looks overwhelmed by the gigantic mass singing in sync with his tune.

“Hi, you guys fucking knew it was us the whole time!” Dave cheerfully says to the festival goers and admits they aren’t good with keeping secrets. He also points out that they only have 1 hour to play, so he keeps it short and sweet. He starts opening riff to My Hero, another hit from the Foo Fighters catalogue, testing the crowd’s abilities to sing loud and bringing a surprising Rami Jaffee solo.

The song morphs into the band introduction, bringing Slash-approved Shifty solo, Nate’s Mendel take-on Beasite’s Boys Sabotage (that’s not going to happen, as Dave clarifies), a tease of Sex Pistols played by Pat Smear and the first official UK introduction of the man, who saved the band – Josh Freese. But this isn’t the end of introductions. Dave explains there is one very special song they wanted to play, dedicated to his late mother Virgina, and he brings on stage his daughter Violet. Show Me How, another track from the latest album, is a powerful father-daughter duo, raw, healing and emotional.

Best Of You and Everlong, dedicated to the band’s late drummer Taylor Hawkins are closing the hour-long set at Pyramid stage. Dave ends it in a true Foo Fighters style, promising to return if we will be back and pointing to the upcoming summer UK tour in 2024. We may see them again playing the iconic Pyramid stage for the headline set next summer. Who knows?

Foo Fighters confirmed dates for 2024 – Everything Or Nothing At All UK Tour (sold out):
13th June 2024: Emirates Stadium Old Trafford, Manchester (with Wet Leg and Loose Articles)
15th June 2024: Emirates Stadium Old Trafford, Manchester (with Courtney Barnett and Chroma)
17th June 2024: Hampden Park, Glasgow (with Courtney Barnett and Honeyblood)
20th June 2024: London Stadium (with Wet Leg and Shame)
22nd June 2024: London Stadium (with Courtney Barnett and Hot Milk)
25th June 2024 Principality Stadium, Cardiff (with Wet Leg and Himalayas)
27th June 2024 Villa Park, Birmingham (with Courtney Barnett and Hot Milk)

Words and photography for MPM Edyta Krzesak