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Jul 09, 2024 By Jimi Arundell Photography by Martin Wright Web Exclusive

The dust has finally settled, and we’ve just about recovered from Glastonbury! Undoubtedly one of the biggest parties of 2024, a staggering 200,000 revellers luckily enough to beat the odds and get a ticket were treated to a plethora of big names, even more cutting-edge artists and countless magic moments at Worthy Farm.

It was the first year to feature two female headliners, although SZA now holds the dubious honour of the least attended primetime Pyramid Set of all time. And many attendees felt flat following Dua Lipa and Coldplay’s appearances which they felt didn’t quite cut it at the world’s most famous festival.

Fortunately, there were plenty of returning familiar faces who did make the grade, including the ever-amazing Alvvays. The Canadian dream-pop group had driven overnight from Luxembourg to treat Woodsies to the likes of the raucous “Pharmacist”, the heartbreaking “In Undertow” and the wistful tear-jerker “Dreams Tonite”. Their perfect blend of rough shoegaze with woozy surf rock will never go amiss, it’s just a shame a third of the audience left straight after “Marry Me Archie”.

Effortlessly cool, and showing off why she’s such a legend, PJ Harvey has risen from an edgy alternative artist to become a true pillar of British rock. Her Friday appearance on the Pyramid Stage is odd yet elegant, reminding us exactly why the decorated artist is the only multi-Mercury Award winner. “Prayer at the Gate” is a pained yet passionate start, “The Glorious Land” is a timely reminder of the terrors of war and the skeletal song “Let England Shake” matches the current turbulent mood of the nation.

Unfortunately, we didn’t get to hear much of her earlier work, with many (me included) a bit gutted not to hear “This Is Love” or “Down By The Water”. And the whole performance is so seamless it sometimes feels a bit flat with no real peaks or high moments. But that’s the way it is with PJ Harvey, and over the top displays just aren’t her style.

Expectations were high for LCD Soundsystem’s set, and James Murphy and co. certainly didn’t disappoint. Kraftwerk’s “Computer Love” quickly melds into “I Can Change” whilst indie-electro classic “Tribulations” energises the party atmosphere. There’s always something magical about seeing the sun disappear behind the Pyramid Stage, “Someone Great”, “Dance Yrself Clean” and “All My Friends” are the perfect tunes for the special occasion.

Bombay Bicycle Club on the Other Stage were a safe bet for Glasto. Their twee upbeat indie pop anthems chime perfectly with the middle-class sensibilities of the festival, delivering a solid and satisfying set of cute tunes including “Shuffle” and “Lights Out, Words Gone”. “Eat, Sleep, Wake (Nothing but You)” is the real crowd-pleaser, owing to its easy singalong factor but the surprise appearance of Damon Albarn sends everyone into overdrive. He lends his vocals to “Heaven” before they all play a quick rendition of “Tender”, and the Blur singer threatens to steal the show (despite a rambling and confusing plea for world peace or something). Thankfully, they round it all up with “Always Like This” to roars of approval.

After being one of THE definitive indie bands of the 00s, Bloc Party have been off the boil for a bit, having failed to reach the heights of their former heyday. So, expectations were high for this to be a comeback moment as they launched into a set that embraces every era of their rich history as part of their 20th anniversary tour on Other Stage. A gentle start with the emotive “So Here We Are” quickly accelerates with “Hunting for Witches” and then kick arse tune “Mercury” that initially sees singer Kele Okereke stumble due to a loop sampler mishap. Quickly putting it behind him, they carry on with the Brett Easton Ellis-inspired “Song For Clay (Disappear Here)” and gliding straight into their greatest hit “Banquet” which sounds as vital and urgent as when they first burst onto the scene with Silent Alarm. Kele rallies the ever-growing throng into a heartfelt singalong during “One More Chance” and the adolescent “I Still Remember” has never sounded more beautiful. The blazing riffs of “Helicopter” remind us that Russell Lissack is one of the greatest guitar heroes of the 21st century and sick Four deep cut “Ratchet” is the perfect way to bring it to a close. Bloc Party, you’ve still fucking got it.

It was also a magnificent return for Gossip. The Kill Rock Stars signees had enjoyed a brief foray into the mainstream after THAT song as featured on teen angst telly programme Skins became a millennial party anthem. Despite being a Saturday night headliner Woodsies is severely depleted with most going to see the terminally tepid Coldplay make their pointless appearance on the Pyramid Stage. Never one to shy away, Beth Ditto leans into her opposition singing a pisstake version of “Yellow”. The numbers are few, but she’s appreciative stating “We know you had your choice of who to come see and we’re shocked you came to see us”. Those of us who were there are stunned by the sheer power of her voice, and the unique fusion of blues, soul, post-riot grrrl and dance rock solicit some seriously funky moves from onlooking fans. Of course, “Standing In The Way Of Control” comes last and Ditto mashes up the lyrics with “Smells Like Teen Spirit”. She also starts a rabble-rousing chant of “There’s more of us than there are or them” in a gloriously queer defiance of homophobic politicians and those that dare to attack the rights of women. The audience carries on singing long after they leave.
And speaking of comebacks, Kim Gordon continues to thrive in her guise as a solo artist following her acrimonious Sonic Youth split. The Gen X icon is currently exploring a darker, moodier, slow-paced alt-hip hop and doom rock-inspired sound which is a marked departure from her old incarnation of frenetically thrashed guitars. Although there were a few screwdrivers dragged along fretboards. She leaves the brooding bass to a bandmate for the most part, standing implacably cool and concentrating on her vocals, uttering stream-of-consciousness lyrics in that unmistakable New York drawl. Sadly, she doesn’t attract anywhere near the crowd she deserves with many flocking to the football. But those who are there are treated to a menacing slot with colossal walls of muscled sound and punishing heavy riffs.

Of course, it’s not just about the big names as Glastonbury is the perfect place to discover something new. My top discoveries of 2024 include electronica-enthused indie rock pairing ARXX are amongst the very first to play, appearing at Greenpeace on Thursday. Proving less is more, the two-piece have already mastered the powerful anthem, packing in great hooks and showing off impressive vocals that have echoes of YONAKA and Wolf Alice. The duo are shocked by the huge response, as Brighton-based vocalist/guitarist Hannah Pidduck and drummer Clara Townsend look truly amazed at the numbers who have come to see them. But despite being stunned, they still seize the opportunity to rock the packed-out area.

I’ve been enjoying Mannequin Pussy on tape, but nothing prepares you for the punch of their live experience. Way more hardcore on stage than their recordings suggest, the raw punk rock energy explodes into unbridled rage and guttural cries as heard on “OK? OK! OK? OK!” and “Pigs is Pigs. You can’t help but respond to the passion as lead singer Marisa “Missy” Dabice cries out “I respect no religion, no government that doesn’t let people just fucking live. And that said, if you don’t agree with that you’ve come to the wrong fucking show” between tearing into furious full-throttle riffs and sexy as fuck breakdowns. No wonder Epitaph snapped them up, because this is as hardcore as it gets.

Nottingham’s Girlband! (not to be confused with the recently renamed Gilla Band) have lately featured on Rolling Stone’s UK site, and it’s not hard to see why. Singer/guitarist Georgie How, bassist Katey Dawson and drummer Jayda Mullings have found that perfect balance between grungy 4AD alt-rock and a sepia-tinged, smoky Springsteen-esque sound which gives them both a cutting-edge and timeless feel. The roaring instrumental intro track which could easily have been a lost PIXIES deep cut offsets the more AOR numbers sure to delight HAIM fans, bridging the gap between the underground and mainstream, putting them on the highway to guaranteed success. And get ready for their new number “Thelma and Louise” (no prizes for guessing the film that inspired it), it’s got a hell of a kick!

And while The Last Dinner Party have been on everyone’s radar for well over a year, it’s the first time I got to experience the genuine baroque-pop phenomenon for myself. Weirdly, there’s already been a bit of a backlash from jealous quarters, annoyed by their overnight success but they simply are that good. Channelling the pathos of ABBA and the passion of Kate Bush, this gang of early 20-something IT girls never fail to hit it perfectly as every song has the potential to be a radio-friendly single. No wonder their first album Prelude to Ecstasy shot to number one as it’s easy to forget their playing live owing to their flawless execution. Frontwoman Abigail Morris spins and turns like a whirling dervish on the Other Stage, lost in the thrill of singing “Sinner”, brand new unreleased song “Second Best” (which isn’t a million miles off Talking Heads’ “Road to Nowhere” to finish on a rosing end with their huge anthem “Nothing Matters”.

A special shout out to Hull’s finest grime artist Chiedu Oraka. The self-described Black Yorkshireman has come a long way, especially in the last year having recently impressed at SWSX and Great Escape. He comes in hard, eager to show off his brand-new mixtape Misfit and represent his hometown, much to the approval of his many northern fans who have travelled so far to see him plus more than a few curious onlookers. His confidence and council estate energy are boundless, and the towering rapper makes it look easy, effortlessly spitting articulate bars whilst constantly playing up to the audience and cameras. But his intro track “Rhythm Of My Pain” highlights the harsh realities of growing up the “wrong” colour in an unforgiving city, and further tunes reveal the depth of hurt he has endured over a lifetime. Increasing the beats and together with hype man and producer Deez Kid, the pair had the Sunday crowd skanking to the likes of sexy song “Darcy”, my personal fav “N.H.E. (North Hull Estate)” which reveals the realities of his life on 21st Ave, and “Champs On My Grave” calling for his last resting place turned into a rave. Truly, a new star of British hip-hop is starting to ascend.

When looking at the best bands of the weekend, Confidence Man have to be right up there. Australian electropop paring Janet Planet (AKA Grace Stephenson) and Sugar Bones (AKA Aidan Moore) have been steadily building a solid following thanks to their high-energy appearances and incredible dance routines at smaller venues around the world. But when placed on the gigantic Other Stage, they took it to the next level.

Upcoming album 3AM (La La La) goes big on the 90s dance vibes which they describe as bubblegum warehouse, perfect for a fresh Friday afternoon audience ready to party and Confidence Man’s hunger to succeed is so apparent. Their insane levels of athleticism, the frequent changes to ever more bizarre costumes and their killer new material all combine perfectly. It’s just a shame they’re on so early as they’ve got the tunes and the moves to be a serious contender for headliner.

New tunes like “Now You Do” (their collaborative single with DJ Seinfeld) plus “Does It Make You Feel Good?” and “I CAN’T LOSE YOU” are so sexy and sassy. Plus, the unbridled joy and optimism of Tilt’s “Feels Like a Different Thing” makes it a perfect festival banger and seeing the vast Other throng crouch for their signature song “Boyfriend (Repeat)” then leap in unison was a sight to be seen. This will undoubtedly be regarded as Confidence Man’s breakthrough moment. There’s no going back for them now, they’re destined to be huge.

Similarly, it was also amazing to see The Streets on top form. Mike Skinner might be a bit mad these days, but he can certainly pull it out of the hat when he wants to as proven by a set packed full of non-stop hip-hop hits, club classics and garage bangers.

“Let’s Push Things Forward” and “Don’t Mug Yourself” sound like they have only just dropped, and “Fit but You Know It” will always remain the ultimate laddish anthem. Just a quick sentimental moment with “Dry Your Eyes”, the intense track “Blinded by the Lights” and then a wonderfully wonky finish on “Take Me as I Am” before Skinner launches himself into the crowd.

But the title for the best set of the year was easily taken by IDLES. Clearly still buzzing having topped the charts with their latest LP Tangk, the Bristol band know their time is now and they’re ready to seize it. Having first smashed it in 2019 with a truly impressive breakthrough moment in 2019 when they were relatively unknown on the Park Stage and previously torn the Other Stage a new arse back in 2022 expectations were high, and the combo of the ethereal “IDEA 01” and the brooding build of “Colossus” made for an explosive start. Singer Joe Talbot swings his mic like some to ancient weapon before diving onlookers into two halves during the second song, goading the crowd like a gladiator asking “Are you ready to collide?” before the band slams back into action and the two factions gleefully slam together in an immense wall of death.

There’s no time to take a breath as Talbot’s cries of “Look at him go-ooh!” on rampaging new song “Gift Horse” are echoed by members of the most extreme mosh pits of the weekend. The intensity only grows as guitarists Mark Bowen adorned in a skin-tight floral dress and Lee Kiernan rattle through “Mr Motivator”, followed by bassist Dev’s brutish riffs leading the charge on “Mother” and the crushing Death Grips-inspired “Car Crash”.

Passion sweating from every pore, Talbot thanks both his band and his devoted following for having saved him from a life of drug addiction and petty crime, before launching into “I’m Scum”. Their two fingers up to critics and jealous contemporaries also morphs into an anti-monarchist chant of “FUCK THE KING!” which must have terrified censors at the BBC.

It wouldn’t be IDLES only political statement. They repeatedly call out support for the people of Palestine, currently being systematically annihilated as the major powers turn a blind eye to the war crimes committed by Benjamin Netanyahu and his extreme right-wing administration. Later, a small boat in support of the plight of refugees commissioned by none other than renegade graffiti artist Banksy would sail over the crowd during “Danny Nedelko”, ending on the snarling “Rottweiler” as “Ceasefire Now” is emblazoned on the backscreen. As the band bow out, Bowen cheekily jokes that they’ll return as main headliners on the Pyramid Stage in 2027, and it wouldn’t be a surprise if that comes true.

Of course, the live music is just one piece of the whole experience. Anyone who has been knows the 24-hour madness, the near infinite choice of DJs playing till sunrise in the southeast corner where TV cameras are forbidden plus stand-up comedy, film showings, discussion panels and hippy spiritual shit going on in the healing fields. Basil Brush’s hilarious adult cabaret act on the final night was the perfect way to round up the weekend.

The problem is that Glastonbury is seriously in danger of collapsing under its growing weight. The swelling of numbers often means that large areas become inaccessible or become unbearably full. Organisers, please take note, bigger is not necessarily better and it is now time to address the problems caused by the massive influx of even more attendees. That said, Glastonbury remains the apex festival by which all others are judged and no other can measure up to.