Welcome to our little home on the net. We are Steve & Rosemary and live in Buckinghamshire, UK. This is a blog of our life, sometimes interesting, but mainly boring. It is very picture orientated as Steve loves to take pictures, especially of wildlife. Sometimes he has his arm twisted by Rosemary and takes the odd snap of a weed.
Bloodstock – Saturday and Machine Head
9th August 2025
A lovely sunny day at Bloodstock. We took a walk around the arena before the bands started playing, we stopped at the Ozzy Osbourne wall to write are condolences and memories of this great singer and performer. The single ‘Paranoid’ was my second ever 45 I bought. I am not proud of my first, ‘Daydream Believer’ by the Monkeys.
Cage Fight
Cage Fight delivered an intense opening performance on the Ronnie James Dio Stage at Bloodstock 2025. The band’s metallic hardcore output was consistently aggressive, providing a rigorous start to the day for the assembled crowd.
Vocalist Rachel Aspe commanded the stage with an appreciable gravity, her presence marked by a concentrated focus. Her vocal delivery was a formidable display of control, featuring a powerful register of guttural growls and primal screams that underscored the band’s uncompromising musical foundation. The unit’s performance was notable for its sheer, unrelenting velocity.
Ba’al
Sheffield’s BA’AL delivered a set of uncompromising blackened post-metal on the Sophie Lancaster Stage at Bloodstock 2025. Known for their deeply emotive and challenging soundscapes, the quintet seamlessly blends the ferocious intensity of black metal with atmospheric, sludge-laden textures. The performance, following the release of their ambitious album The Fine Line Between Heaven and Here, showcased their complex song structures and vocalist Joe Stamps’ visceral, ranging delivery, demanding a profound emotional engagement from the audience. Their set was a testament to the band’s ascent within the UK’s extreme metal scene.
Warbringer
Californian thrash titans Warbringer delivered a masterclass in feral aggression on the Ronnie James Dio Stage. The band wasted no time, inciting massive, chaotic circle pits almost immediately with tracks like “Remain Violent.” Frontman John Kevill’s commanding stage presence was a highlight, often using his signature gasmask as a dark, unsettling prop to amplify the band’s themes of warfare and societal decay. Their high-velocity performance was a pure, unapologetic dose of old-school thrash, leaving the audience utterly drained but thoroughly satisfied. There was crowd surfing and I huge circle pit. I spotted ‘Gasmask’ in the circle pit.
Zebulon
It was mid-afternoon when we navigated our way through the ever-growing throng of metalheads and found ourselves at the New Blood Stage. This is the proving ground, the arena for emerging metal bands fiercely chasing their big break, hoping to convert a few hundred festival-goers into a dedicated following.
Zebulon took to the stage. Winners of their national ‘Metal 2 The Masses’ competition, they had sailed across the North Sea not for plunder, but to deliver a bone-crushing set of heavy, slow-burning, melodic doom.
Kristian Berge Nessa, the vocalist, immediately commanded attention. With a head of strikingly long, straight blonde hair—easily a meter in length—he was a visual spectacle. Throughout the set, as he delivered the band’s powerful, dramatic vocals and haunting melodies, he became a human whirlwind. He would spend minutes hunched over the microphone, before exploding into a flurry of motion, throwing his majestic mane back and up into the stage lights, a golden, ethereal arc against the darkness of the stage. He even confessed in a later interview to having gotten his hair snagged in an overhead spotlight—twice!—during a previous gig.
Creeper
Selina and I went to watch Creeper on the Ronnie James Dio stage, and it was easily the highlight of the weekend. The energy they brought to the main stage was incredible—the kind of set that leaves you slightly dazed and totally exhilarated. Will Gould, as always, commanded the massive crowd, and the twin guitars absolutely roared through the classic tracks. We were completely hooked, convinced we’d just seen one of the best performances of the entire festival.
The moment they finished, the decision was instant: we had to meet them. The queue for the signing tent was immense, but as a Serpants Layer ticket holders, we had priority. Everyone was buzzing. It was worth every minute of the wait just to exchange a few quick words and get those precious autographs. Now, those bold, black signatures are blue tacked to the memory wall in the loo. It’s the perfect spot—a hidden shrine that proves just how epic that hot afternoon at Bloodstock truly was.
Fear Factory
Fear Factory absolutely decimated the Bloodstock stage, delivering a high-impact, surgically precise set to celebrate the 30th anniversary of Demanufacture. Guitarist Dino Cazares, the sole original member, marshaled the industrial groove machine with characteristic ferocity. New vocalist Milo Silvestro proved his worth immediately, his dual clean and guttural delivery fitting the mechanical chaos perfectly. The band kicked off with a Terminator-style monologue before launching into an unrelenting run of classics, instantly igniting a huge circle pit. The crowd surfers kept the security at the front of the stage busy. Despite a few sound issues reported on the sides of the stage, the sheer power of tracks like “Linchpin” and the Demanufacture core turned the main arena into a churning, euphoric frenzy. A testament to the enduring power of their seminal work.
Raiders of the Lost Ark
Back in the Serpants Layer, the Pop-Up Puppet Cinema presented Raiders of the Lost Ark. So along with a few drinks, we were sutibly rested to confront the final acts of the night.
Ministry
We were quite away back to see Ministry, but relentless industrial onslaught was easy to hear were ever you were. They delivered a gloriously abrasive set.
Al Jourgensen and company smashed through a politically charged, career-spanning mix of classics including “N.W.O.,” “Just One Fix,” and “Jesus Built My Hotrod.” The performance was described as one of the band’s finest festival shows, pairing ferocious industrial metal with powerful, anti-establishment visuals. It was a flawless execution of banger after banger, leaving the audience whipped into a frenzy of industrial chaos.
Machine Head
Machine Head’s headline slot at Bloodstock 2025 was nothing short of a sensory and sonic triumph. Robb Flynn commanded the Ronnie James Dio Stage, delivering a career-spanning set that blended raw fury with deep emotion. The stage production was relentless, featuring a dizzying array of sharp, kinetic lights that cut through the darkness, complementing the explosive power.
The show climaxed with magnificent blasts of fireworks and towering jets of pyro, turning Davidian into a monumental spectacle. While the crowd surge created a chaotic, bouncy atmosphere across Catton Hall, the feeling of movement was omnipresent—even without physical cubes, the sheer energy of the pit provided the bounce. A deeply personal and visually dominant masterclass in modern heavy metal.
Static-X
The final act of the night at the Sophie Lancaster Stage at Bloodstock Open Air was the industrial metal band, Static-X.
Their performance was a high-energy spectacle, full of their signature ‘evil disco’ sound, celebrating the aggressive, groove-heavy industrial metal they pioneered. The set was a party-like atmosphere, often including material from their seminal album, Wisconsin Death Trip.
A key component of the current Static-X line-up is the mysterious masked vocalist, Xer0, who performs in a striking, robotic mask and costume, honouring the late original frontman, Wayne Static (whose signature spiky hair and chin-length beard are replicated on the mask). This visual, along with the other musicians’ dark, industrial outfits, is central to the band’s current identity.
As for the specific crowd interaction you witnessed: the use of a rubber dinghy for crowd-surfing is a memorable, chaotic, and often-seen element at metal festivals like Bloodstock. While your initial thought was a connection to the social commentary of artist Banksy regarding migrants, in the context of a high-octane metal festival, the dinghy is generally a humorous, spontaneous vehicle for fan participation, intensifying the wild, party atmosphere of a closing set. It’s a common way to celebrate the energy and communal chaos of the metal crowd, often involving a band member or a highly enthusiastic fan—sometimes even a guest vocalist, as reported in reviews for one recent Bloodstock set.
Gallery
The Lion, The Witch and The Wardrobe
10/10/2025
We made a rare visit to the Waterside Theatre, to watch “The Lion, The Witch and The Wardrobe“. It is a tradition for some of us in the village to watch the progress of the actor “Stanton Wright“. We have seen him perform in “All or Nothing“, a story of the band Small Faces. Then in London we watched him perform in “Pictures of Dorian Gray“. More recently he had several parts in the “Kite Runner” which I saw in Oxford.
In this show he starred as Aslan the Lion, as well as having other small parts as a Soldier and a Hedgehog.
The special effects of this production were extremely ingenious & magical, from suitcases with holes cut in them to form windows in an effect that looked like carriages in a train, to the animation of Aslan and the amazing witch’s platform, which launched her to soar high up. All of this performance was accompanied by live music, played by the actors as they performed the play. Yes, many of the actors are also accomplished musicians.
After the event we were invited backstage to take a close look at the costumes & props. I have never been behind stage before and was absolutely astounded by the organised chaos, and the height of the stage. The number of ropes, for hoisting and moving scenery, all the electronic sound equipment and then the actual props. The props, especially Aslan, were formidable creations.
The show moves on in the next few days, It takes five pantechnicons to move all the equipment, props and costumes!
A vist with BBOWT to Snelsmore Common Country Park
9th October 2025
We were invited on a guided tour of Snelsmore Common Country Park, hosted by the Berkshire, Buckinghamshire and Oxfordshire Wildlife Trust (BBOWT).
While the park isn’t owned by BBOWT, they manage it on behalf of the local council. As a common, the park offers unrestricted access via numerous paths. BBOWT explained that during spring nesting season, they attempt to subtly restrict access to sensitive areas by placing branches in path openings. This is done to gently discourage people from entering, as outright restrictions are not permissible on a common.
The park is well-equipped for visitors, featuring a café and toilets, along with plenty of parking spread across several small car parks. The idea is that these amenities act as honeypots to concentrate the majority of visitors in a few areas, thus encouraging them not to walk through the entire common.
Heathland, Ponies and Wildlife
The tour took us through the common and various mires nestled within the heathland. To help manage and maintain the land through grazing, four ponies currently reside there, with the possibility of a couple more joining them in the future.
Among the trees, we observed a lovely array of fungi, including the striking Fly Agaric (Amanita muscaria), and various other species. In some waterlogged areas, we were shown Sundew, a fascinating carnivorous plant. The heathland also features low sandy banks that serve as homes for nesting insects, though none were visible on the day of our visit. All four ponies were around, busily munching their way through the undergrowth.
Conclusion
It’s a lovely spot for a walk. We concluded the tour with a pleasant coffee and cake before making the unfortunate, hour-long drive back home.
Bloodstock – Friday and Trivium
8th August 2025
A good warm, dry and sunny day. Coffee for breakfast
Ofnus
Epic, atmospheric black metal at 10:30 a.m. is always surreal, but Cardiff’s Ofnus, driven by their impressive Valediction album, handled the Sophie stage step-up with quiet confidence. The set delivered sweeping, keyboard-laced soundscapes and frenetic tremolo picking, creating an enveloping misery. They wisely front-loaded the show with colossal tracks like the mournful “Proteus.” While not suited for early-morning pit action, it was a deeply effective dose of melancholic grandeur, perfect for clearing the head. This solid, compelling performance proved they absolutely belong on a bigger stage.
Shrapnel
Norwich’s Shrapnel opened the main stage on Friday, handling the tough, early slot with professionalism. Drawing mostly from their latest album, In Gravity, the set featured their metalcore-infused sound. Frontman Daniel Moran’s energy got the morning crowd moving, effectively setting a solid, heavy tone for the rest of the day.
Famyne
Famyne’s debut on the Ronnie James Dio main stage at Bloodstock 2025 was a quiet, definitive triumph. During their early Friday slot, the Kent doomsters created a heavy, resonant soundscape, cutting through the midday heat. Vocalist Tom Vane commanded the space, anchoring the complex, melancholic riffs that felt both massive and grounded. This steady, compelling performance simply confirmed they are built for the big stage.
Bloodstock – The Battle of Bloodstock – Viking Combat
Inbetween bands, Selina and I went to watch ‘The Battle of Bloodstock‘, this is a full-contact competitive Viking combat event held annually at the Bloodstock Open Air heavy metal festival in the UK. Far from mere historical re-enactment, this is a genuine, un-choreographed athletic competition where warriors from across the country compete in one-on-one duels (known as Holmgang) and team battles to be crowned champions.
Konvent
We caught the end of Konvent, a pure, stripped-back set of crushing death-doom on the main stage.
Flotsam and Jetsam
Flotsam and Jetsam delivered a tight, no-frills masterclass in speed and precision to the Bloodstock crowd early on Friday. Despite the brief mid-afternoon slot, they maximized the energy with foundational tracks like ‘Hammerhead‘ and ‘No Place for Disgrace‘.
The production was pure, relentless energy, not flash. Frontman Eric A.K. Knutson’s vocals remained fierce, perfectly anchoring the dual guitar attack. This was comfortable, reliable classic thrash, proving the fundamentals are enough to kick the dust up at Catton Hall and set a solid bar for the day.
Paleface Swiss
Paleface Swiss, making their main stage debut on the Dio Stage, just got on with it. They delivered a predictably heavy set of bruising deathcore and jolting breakdowns.
Despite the early slot, the crowd response was significant. Avoiding theatrics, they simply unleashed pure, calculated aggression, efficiently delivering the zero-frills brutality promised. It was a strong, functional performance that moved serious dirt around Catton Park—nothing dramatic, just extremely heavy and effective.
Back in VIP Serpent’s Lair
Back in VIP Serpent’s Lair the fun was kicking off, yes it was the conga
Orange Goblin
Orange Goblin’s final festival appearance at Bloodstock Open Air was marked by professional consistency, coinciding with the conclusion of their three-decade tenure. The high-density, riff-centric stoner metal genre executed furnished the requisite aural stimulus for the audience. Subsequently, the core repertoire, featuring “Red Tide Rising” and “Scorpionica,” was delivered with considerable force, validating the ensemble’s established efficacy within the heavy metal canon of the United Kingdom.
Lacuna Coil
Lacuna Coil gave a reliably solid performance on the main stage at Bloodstock 2025, exactly what you’d expect from the Italian veterans. Despite a late start, they quickly hit their stride, opening with “Layers of Time.” Cristina Scabbia’s vocals were incredible, soaring effortlessly over the field, backed by Andrea Ferro’s gruff counterpoint. They hit all the necessary tracks, including “Our Truth” and the classic “Enjoy The Silence” cover. The set was polished and professional: no major surprises, just the consistent quality the gothic anthems demanded.
Pop-Up Puppet Cinema presents Jaws
This event “Pop-Up Puppet Cinema presents Jaws” was a quirky and humorous stage adaptation of the classic film Jaws by the troupe known as Pop-Up Puppet Cinema. It filled in the time before the next band was on, and gave us time to drink some real ales and ciders. What with ciders, puppet shows and finding something to eat for supper, we missed the band Emperor. Instead we were refreshed are ready to enjoy Trivium to the maximun.
Trivium
Trivium’s impactful Bloodstock 2025 headline performance featured flawless execution and augmented stage production, including pyrotechnics. The band’s professional authority drove significant crowd dynamics. Strategically mixing Ascendancy tracks with newer material, and featuring guest collaborations, the set conclusively validated their enduring mastery.
Gallery
Bloodstock – Thursday Arrival
7th August 2025
Selina and I arrived at 12, with no traffic at all on our chosen route. According to the rules, Serpents Lair campers should not arrive before 12. I don’t understand how the car park is full and the campsite is almost full. I must be missing something. We carted our stuff and found a place near a huge tent. Problem: I could not find the mallet, so I borrowed one from them. I decided they must be builders, because the mallet was a builders hammer. After a walk around, I decided that we should have spent a little more time finding a location. There was quite a bit of space nearer to the showers.
The rain started before the bands played, but we were in the bar in Serpents Lair having a beer and cider. When the short shower ended, we went to pick up our goodie bag. This was before the other crowds were let in. This was an excellent change becaue we did not have to queue.
I realised I did not have the correct charger cable for my battery pack, so went in search of a camping shop. We were led to it by a bored security man. I purchased the cable at the camp shop. We heard from the owner of the shop that Bloodstock was good to the suppliers, as was Glastonbury. He detested Download and the other festivals run by Festival Republic, as they took a 10-30% charge on all items bought. To enforce this, you had to take card payments and only use their card machines. If you did not make a sales level, then you would not be on site next year.
In the Serpents Lair, we were accosted by a youngster who was wearing a gas mask. He said everyone knew him by the name Gas Mask, and he was the starter of many of the circle pits on the main stage. He is a notable, high-energy figure amongst the Bloodstock crowd and we were to see him very often.
Bands started to play at 6 in the evening on the Sophie Lancaster Stage and continued until midnight. This stage, which is the festival’s second-largest, is named in memory of Sophie Lancaster, who was tragically murdered in 2007 for being a Goth. The stage highlights the work of The Sophie Lancaster Foundation, Bloodstock’s official charity partner, which campaigns to Stamp Out Prejudice, Hatred and Intolerance Everywhere.
Dead Flesh 18:00 – 18:30
We enjoyed the band, with plenty of crowd surfers. The first band to play, Dead Flesh are a Hertfordshire-based deathcore band known for their high-intensity live show, blast beats, and breakdowns. They set the tone for the evening perfectly.
Fourway Kill 18:50 – 19:20
Next up was a band named Fourway Kill. The English groove-thrash metallers opened the main stage at the inaugural Open Air festival in 2005, following previous appearances at the indoor festival. They are known for their brutal live shows and a no-compromise approach to heavy groove thrash.
Our recent friend, the fan known as Gas Mask appeared in the crowd to create his circle pits..
Gnome 19:45 – 20:25
We were then entertained by the Belgian band Gnome, a stoner rock/metal band from Antwerp. They’re known for their distinct visual style, dressing in large, red gnome hats for their performances, a look often mirrored by their dedicated followers.
Their set at Bloodstock, is a mix of heavy riffs, playful energy, and progressive elements, entertained the audience. Gnome’s unique blend of humor and heavy music – often described as “gnome rock” – made their performance a standout, solidifying their reputation for delivering a high-energy, memorable live experience. They often draw comparisons to bands like Tool or Mastodon but with a decidedly whimsical, fantastical twist.
All for Metal 21:00 – 22:00
All for metal performed a blend of power metal and heavy metal anthems, the band delivered a powerful and visually imposing set. The presence of the lead singer, Tetzel, was truly staggering; his enormous size and robust stage presence anchored the performance. A memorable highlight was a demonstration of his impressive strength, as he effortlessly picked up and held two other members of the band.
Adding to the spectacle and musical prowess was the female guitarist and a bass guitarist who maintained a menacing aesthetic by wearing a distinctive metal mask. Coming from Germany, All For Metal embodies the Teutonic tradition of heavy, highly theatrical, and instantly catchy metal, ensuring their performance was a high-energy, unforgettable experience.
Me and that Man 2240 – 2355
Me And That Man is the dark, blues-infused, Americana-style project fronted by Adam “Nergal” Darski, best known as the leader of the legendary Polish black metal band, Behemoth. In sharp contrast to Behemoth’s extreme sound, Me And That Man offers a blend of folk, gothic country, and blues rock, creating a brooding, atmospheric mood.
Their set was skillfully delivered by the band’s guitarist and vocalist (Nergal), showcasing their rich, acoustic-heavy material. The band’s captivating style successfully drew in a large audience, resulting in a lot of enthusiastic crowd participation and singing despite the departure from the festival’s typical heavy metal focus. The performance offered a dark, compelling change of pace, highlighting Nergal’s versatility as a musician.
Serpents Lair
That was the end of the bands, so we went back to the Serpents Layer and watch some fire displays while consuming a nightcap.
Gallery
Ludgershall Bike Night
7th July 2026
Rosemary and I attended Ludgershall bike night. How such a small village puts on this popular event every year, beggars belief. It is extremely popular, runs from 6pm to 9pm and attracts bikers from all over. We hear of bikers coming from more than 100 miles away.
This year, the splendid weather contributed to a huge turnout. The official count recorded an impressive 1,388 bikes, with an estimated 2,500 people attending the event in this tiny village.
One of the most remarkable aspects of Ludgershall Bike Night is the impeccable atmosphere,being further enhanced by a live band playing an energetic set of classic rock music covers.
Despite the large crowd, there was no trouble reported, and attendees showed great respect for the village, leaving no litter behind. The event is a testament to the community spirit and the mutual respect among the biking fraternity.
The sheer popularity of the night led to some minor logistical challenges. Unfortunately, the queues for the fish and chip vans were horrendous, forcing us to look elsewhere. We happily settled on some delicious spicy food from an Indian stall instead – a welcome alternative! To wash down the meal and quench our thirst, beer was on tap,
Mark your calendars! The next Ludgershall Bike Night is scheduled for Monday 6th July 2026.
Glastonbury 2025 – Sunday
29th June 2025
Another fine day in Paradise, blue skies with some wispy clouds to save us from some of the heat. Our usual breakfast, which has proven to be excellant and then off to watch some music.
Thandii
I made my way to the West Holts stage, where I saw Thandii, a tall blonde singer backed by drums, keyboards, and a guitar. I would classify this as modern jazz. It was a fine but not an overwhelming performance
Abel Selaocoe & the Bantu Ensemble
The next act on the West Holts stage was a real treat: Abel Selaocoe. The performance was a captivating fusion of virtuosic classical cello playing and traditional Bantu singing. Being a classical music ignoramus, I did not realize South African cellist Abel Selaocoe was a world-famous, genre-defying artist, celebrated for boldly blending Western classical traditions with his African heritage.
The Riptide Movement
I went back to the The Love Fields. It must have been to pick something up. I only know because I took some photos. On the way back to see Rod Stewart at the Pyramid Stage, I dropped off at the Acoustic Stage for a beer and caught a few moments of the band called The Riptide Movement.
Rod Stewart
Made it to the top of the Pyramid field to watch Rod Stewart’s perform in the highly coveted Sunday afternoon Legends Slot.
The 80-year-old rock veteran, following an introduction by rousing bagpipes, treated the sun-soaked field to outfit changes (including a wonderfully bright pink suit), a dazzling array of backing singers and musicians, and a parade of his greatest hits.
While there were fair questions raised over the strength and gravel of his voice on a few of the rock songs, his stage presence and ability to orchestrate a massive singalong remained completely intact. Highlights included a heartfelt rendition of The First Cut Is the Deepest and the unexpected appearance of Mick Hucknall for a duet, but the crowd truly exploded when Faces bandmate Ronnie Wood joined him for a blistering run-through of Stay With Me and Hot Legs (the latter also featuring Lulu).
The show delivered spectacle, nostalgia, and a proper Sunday afternoon party, culminating, naturally, with Sailing.
Set List Highlights
- Tonight I’m Yours (Don’t Hurt Me)
- The First Cut Is the Deepest (Cat Stevens cover)
- Maggie May (includes snippet of ‘Gasoline Alley’)
- Da Ya Think I’m Sexy?
- I Don’t Want to Talk About It
- If You Don’t Know Me by Now (with Mick Hucknall)
- Stay With Me (Faces song, with Ronnie Wood)
- Hot Legs (with Lulu and Ronnie Wood)
- Sailing (The Sutherland Brothers Band cover)
The Verdict: Was he past it?
Absolutely not. While his voice might have lost a bit of its classic rasp, Rod Stewart understood the assignment perfectly. The Legends Slot isn’t about proving you’re the sharpest rock and roller; it’s about rolling out the hits, delivering entertainment, and bringing the festival to a joyous crescendo before the final headliners. He brought the party, the spectacle, and some brilliant surprise guests, securing his place as a true Glastonbury Legend.
Goat
After Rod Stewart, I rushed over to West Holts to see the band called Goat. Only saw last 20 minutes of this set. All the players were dressed in masks ,( Slipknot ). Their signature blend of driving Afrobeat, motorik krautrock, and hard-grooving psychedelia felt perfectly suited to the spiritual, sun-drenched landscape of Worthy Farm. The dual drummers laid down a colossal, thunderous backbone that drove every track.
The Brian Jonestown Massacre
While The Brian Jonestown Massacre played, an aircraft drew a vapour trail in the sky, a Smilie. More fun than listening to the band playing. The Brian Jonestown Massacre’s 2025 West Holts set was less psychedelic bliss and more predictable chaos. Anton Newcombe seemed more interested in glaring at the sound engineer than playing, allowing endless tuning breaks to murder any festival momentum. It was a definite downer.
The Prodigy and the End
Visited the Other Stage for the headline act of the Prodigy. I was rather disapointed, the music is good, but there are so many long pauses between each piece. The whole rhythm of the gig just died on me.
With Ed and Mary we went on a bar crawl, looking for music venues, visiting Sensations for a covers band, and the Small World tent for some violin playing. I bailed out at around 3 and went back to my yurt.
Leaving
We packed up and left in the morning. Unfortunately Love Fields is a long distance from the main road, with several other campsites, car parks and glamping grounds in between, each letting their clients onto the road. We sat stationary for ages, hopefully our speed of movement would improve as we passed each exit onto our road. It did, but still we waited. Then we started to move, the traffic lights onto the main road were reprioritised to allow more of us to exit.
Gallery
Glastonbury 2025 – Saturday
28th June 2025
Saturday was another dry day at Glastonbury with blue sky to start with. As the day progressed some clouds came in.
Infinity Song
Infinity Song is a family-formed band. They hail from New York City. The group comprises siblings Abraham, Victory, Angel, and Israel Boyd. Raised in a household steeped in music – their father, a musician and minister, instilled in them a deep appreciation for diverse genres and the power of collaboration. From busking in Central Park to performing at prestigious venues, their blend of R&B, folk, pop, and gospel has garnered them a dedicated fanbase. I admit to being underwhelmed.
Here they played the opening Saturday set at the West Holts stage.
Nilüfer Yanya
The London-based artist signature style features a mix of restless, guitar-driven melodies, often with a ’90s alt-rock or grunge-indebted edge, paired with her remarkably expressive and smooth vocals. Her appearance was part of a day on the West Holts stage that also featured acts like Bob Vylan and Kneecap. As the performance came to an end, the artist used her platform to show solidarity with Palestine. A pro-Palestine banner was unfurled on stage during her closing message to the crowd, with a backdrop that read “Free Free Palestine.” This gesture was one of several political statements made by various artists across the festival weekend.
Climate Catastrophe Panel Moderated by Robin Ince
I next walked up to the Green Fields to listen to some discussions on climate change. In the Green Fields, there are a number of tents with forums and talks. One year, Sir David Attenborough came to give a talk. This year, as in most years, there are talks about climate change, and I engaged with the speakers.
Nova Twins
After the talks, I headed over to Woodsies Stage (formerly the John Peel Stage) to see the Nova Twins. My way was blocked, because the path past the West Holts Stage was packed with people. This was due to the crowds for the sets by Bob Vylan and Kneecap. I took a bypass around the back and managed to make it to see the start of the Nova Twins‘ performance—a band I have seen several times.
The atmosphere inside the Woodsies tent was electric well before their 16:30 slot. Stepping on to the stage, the pair immediately unleashed their signature “Nova Sound,” transforming the woodland area into a visceral rock and roll sanctuary. Their setlist, which featured fan favourites like “Antagonist,” “Piranha,” and “Glory,” alongside newer cuts from their recent album, Parasites & Butterflies, was a relentless assault of energy.
Pulp
I had to go and see the secret set by a band named “Patchwork”. I was way back in the crowds, so no view of the stage. This was the worst kept secret of a surprise secret set. The Britpop legends Pulp took to the Pyramid Stage for a surprise afternoon set, billed cryptically on the schedule as “Patchwork.”
Thirty years and four days after their legendary, last-minute stand-in headlining performance in 1995, Jarvis Cocker and co. returned to the iconic stage to a rapturous, jam-packed field. The show marked the band’s return to the festival’s main stage to commemorate the anniversary of their breakthrough performance, which became a cornerstone of Glastonbury folklore.
I had seen Pulp before at another secret set in 2011 at the Park Stage, a much smaller stage, and I had arrived very much earlier. I had a clear view, but could hear only the singing of three women next to me.
The band’s arrival was suitably theatrical, with a line of people in black and white ponchos briefly obscuring the stage before the iconic keyboard refrain of “Sorted for E’s & Wizz” began. A message flashed on the screen: “Are you ready for PULP SUMMER.”
Frontman Jarvis Cocker was in his usual form, witty and charismatic, dedicating “Mis-Shapes” to the massive crowd of outsiders and oddballs. He also noted the significance of the day, pointing out that “Sorted for E’s & Wizz” and “Disco 2000” were first played on that very stage exactly thirty years and four days ago.
The set blended classic hits with new material from their recent chart-topping album, More, including tracks like “Spike Island” and “Got to Have Love.” The performance culminated in an epic, unifying rendition of “Common People,” which was punctuated by a perfectly timed, and presumably coincidental, flyover from the Red Arrows, leading to a massive, delirious crowd sing-along that sealed the moment as a true Glastonbury highlight.
The full set list performed by Pulp on the Pyramid Stage on Saturday, June 28, 2025, was:
- Sorted for E’s & Wizz
- Disco 2000
- Spike Island
- O.U. (Gone, Gone)
- Acrylic Afternoons
- Something Changed (Acoustic)
- Do You Remember the First Time?
- Mis-Shapes (Dedicated to the audience)
- Got to Have Love
- Babies
- Common People (with Red Arrows flyover)
Father John Misty
Caught the last 20 minutes. Woodsies, Glastonbury was packed out for this. Sounded great bold music.. I don’t know any of it.
Tom Odell
I then went to watched Tom Odell at the same venue. Nice music, but a bit boring for me. Probably wish I hadnt seen him, because it made me late for Neil Young
Neil Young and the Chrome Hearts
I wasn’t initially planning on seeing the set, but ended up there. I was able to get in quite close to the front by entering the side of the field and edging forward over time as people left.
There were strongly divided views of his performance, which ignited one of the Glastonbury weekend’s contentions: what exactly constitutes a great rock and roll performance? Some long-time fans and purists hailed the 79-year-old rock veteran’s appearance with The Chrome Hearts as a masterclass in “proper R&R.“ They lauded the fierce, unadulterated musicality—the extended, ragged guitar solos, the heavy sound, and his refusal to pander to a modern festival audience. In an era of polished spectacle, his set was celebrated as a defiant reminder that substance outweighs showmanship.
Conversely, a more mixed crowd, particularly those unfamiliar with his live reputation, voiced criticism, suggesting he had limited stage presence and minimal interaction with the crowd. Comments circulated on social media about his subdued demeanour and extended, indulgent blues jams. My opinion is that the music itself was great, and ultimately, that is what counts. His sheer longevity and the depth of his catalogue, featuring classics alongside newer tracks, stood as a testament to his legendary status.
Set List
Neil Young’s set on the Pyramid Stage, Glastonbury on Saturday, June 28, 2025, included the following tracks:
- Rockin’ in the Free World
- Sugar Mountain (Solo Acoustic)
- Cinnamon Girl
- The Old Laughing Lady
- Cortez the Killer
- Be the Rain
- Ohio
- The Loner
- The Needle and the Damage Done
- Harvest Moon
- Comes a Time
- Heart of Gold
- Hey Hey, My My (Into the Black)
After the set I left and tried to meet up with Ed and Mary, who were on shift in the Silver Hayes area. Big mistake—huge crowds. I managed to extract myself and had an early night back at Love Fields, where there were still live performances in the bar.
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Glastonbury 2025 – Friday
27 June 2025
Today marked another warm and dry day at Glastonbury, the first full day of the festival. As was our custom, we were all gathered for breakfast shortly after it was served. Afterwards, we all headed our separate ways. I set off for the West Holts Stage, usually my favourite haunt, though I felt the music selection this year was rather underwhelming. I had also made a personal discovery: Brothers cider was no longer for me, too sweet. Instead, my magnetic draw for drinks pulled me more and more toward the main Cider Bus. In any case, the first band I was scheduled to see was indeed at the West Holts Stage, so I had to make do with Brothers.
Corto.Alto
Corto.Alto, led by Liam Shortall, is a Glasgow-based nu-jazz collective known for genre-blending, mixing jazz with hip-hop, broken beat, dub, and electronica. Their Glastonbury performance opened the West Holts stage and was a blistering and energetic electronic jazz sound. Yes, they absolutely deserve the acclaim they receive for their act.
Beans on Toast at the Avalon Stage
After West Holts, I moved onto the Avalon Stage. I don’t know, but I think this field has gone downhill a little. It used to host the Avalon Stage and the Avalon Inn, and some tea tents and a café. The tea tents and café were given their marching orders a few years ago. Now it is just the stage and Inn. The Inn is built to represent a pub building. I came here to watch Beans on Toast, sitting outside the Inn with a view of the stage and Beans on Toast. I got chatting to another guy, and it appeared he had flown over from Vancouver to see Beans on Toast play. He had seen him at a local folk festival in Canada. Now that is dedication!
Beans on Toast (again) at the Bandstand
I met up with Selina and Phil at the Cider Bus, where I was enjoying the driest draft cider they offered. I managed to persuade Selina and Phil to join me to watch Beans on Toast. Selina’s mum had explicitly warned her not to see him—a warning that, naturally, Selina chose to ignore. And she was rewarded! Beans on Toast decided to abandon the bandstand, instead choosing to roam and perform directly among the crowd, creating a truly intimate and memorable experience.
Lewis Capaldi
My main intention for the day was to secure a spot right on the front rail for Biffy Clyro, so I strategically started by heading over to catch the set by Lewis Capaldi. This wasn’t just any gig; it was his highly anticipated comeback performance after an extended hiatus of several years. Following a challenging period where he stepped away from the relentless public spotlight to focus on his mental and physical health—particularly as he learned to manage his Tourette’s syndrome diagnosis—he had returned to living quietly back with his mother. This performance was an incredibly poignant and emotional moment, marking his brave return to the stage. Since this comeback performance, he had been touring and will appear at the Isle of Wight festival in 2026
Alanis Morissette
The next show was Alanis Morissette, and I managed to move further forward, ending up just one row back from the barrier. Truthfully, her music isn’t strictly my usual taste, but I was amazed by how many songs I recognized and knew the words to. Her performance was a raw, nostalgic powerhouse, delivered with the intense, uncompromising energy of a true rock icon. An added bonus? My neighbour spotted me on TV! I was only on screen for a fleeting two seconds, but I’ll take it.
Biffy Clyro
As a few people left after the Alanis Morissette performance, I pushed to the rail, but there was a disappointed woman, she really wanted to be on the front, but for The 1975. I wasn’t interested in the 1975, so I agreed to make sure she was on the rail for their performance. This worked fine, and when Biffy Clyro’s set was finished, I made sure she got to the front. Biffy Clyro were excellent, delivering a blistering, energetic set that cemented their reputation as a premier live act. Their performance, full of intense guitar riffs and soaring anthems, was a definite festival highlight. The cameras did spot me, though they were looking for more glamorous subjects.
Cirque Du Vulgar
The Cirque Du Vulgar is rather raunchy with a lot of nudity, yes I saw dangly bits, so no pictures. Cirque Du Vulgar is basically a circus show, but it’s one of those grown-up versions. They take your standard big top setup and swap out the clowns and elephants for a more adult kind of performance.
The act itself is a mix of legitimate circus skills—think aerialists doing their thing up high, and some genuinely impressive acrobatic stunts—but all of it comes with a strong layer of raunchy comedy and burlesque elements. There’s plenty of audience interaction, often with an adult theme, and the humour is generally pretty filthy and not for the easily offended. It’s a night of daredevilry and risqué routines, all designed to be a bit chaotic and over-the-top, but it’s fundamentally a talented circus troupe doing tricks in fewer clothes with a lot of swearing.
As for Glastonbury, they’re regular fixtures in the Theatre and Circus Big Top, often headlining that field’s late-night programming. At the festival, it’s just another piece of the late-night fun—a chance for the crowd to take a break from the bands and see some acrobats and comedians pushing the boundaries. It fits right into the whole Glastonbury vibe, offering something different in the small hours when people are looking for a bit of cheeky escapism. You hear people talk about it, but it’s just one of the many weird and wonderful things you might stumble across after dark.
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Glastonbury 2025 – Thursday
26th June 2025
It rained a little during the night, (after I had got back to the yurt at 3.00), enough to keep the dust down. Our first breakfast, and we were one of the early ones for it. Coffee from a coffee bag, plenty of yoghurt, cereal and pastries and a full English breakfast. We took our time over this meal. Lovefields know how to put on a good breakfast.
We all headed into Glastonbury; our first mission was the Joe Wicks exercise class. I had a few minutes to spare, so visited one of the Glastonbury post card stalls, Here I bought a couple of postcards, wrote them, placed a stamp on them, and franked the cards with the Glastonbury Festival stamp and posted them. R’s postcard was there next day. Since heard that Ann’s card also arrived.
Joe Wicks
Headed back to the Gateway Stage and we waited for Joe Wicks to start. He was being interviewed while his stage was being prepared, He started the work out, his brother DJed the music, and we exercised. This was quite fun and lasted a good 30 minutues. Huge queue at the end to get a selfie with Joe. We decided not to queue. Instead, walking down towards the acrobatics and circus area where we watched a competition to build the highest stack of crates where the builder had to remain on top of the stack. Very funny – old and young competed. The highest was 14 crates, the strong wind causing issues the higher the stack became. We walked onto the West Holts Stage where some processions were taking place, music and dancing.
Temple Uprising
I headed over to Temple Uprising to hear a couple of talks and songs relating to freedom.
- Songs of Survival: West Papua’s Story Through Music and Memory with Koteka Lali Kuragan Wenda
- Sound of Freedom: Palestinian Rhythm of Resistance with Palestine Pulse – Grandchildren of the Nakba
Needless to say, there were many Palestine flags being waved at the Palestine talk and music.
Circus
Afterwards I was back at the circus area and watched some acrobatics and highwire acts. Much more impressive close up, than watching at the pyramid stage.
The Evening
I arranged to meet with ex-Walker colleagues Ed and Mary, and found they were at the Sensations Stage. I quickly found them along with Jon. We started off watching Showhawk Duo, then the next band was Elvana Elvis Fronted Nirvana. These were very popular, and unfortunately, we ended up in the nearby bar. Ed & Mary had to leave, because they were on duty that night. I ended up wandering around the site, where I even visited the Ribbon Tower. The queues were not that long, finally, I left the park area at around 3.am, getting back to the yurt at around 3.30.
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