More about: Glastonbury Festival

It’s that time of year again, with thousands ready to descend upon the hallowed fields of Worthy Farm to enjoy an endlessly lush variety of festivities (I'm not jealous, honest). So why not join us for some timely nostalgia as we look back on Glastonbury’s most priceless and wholesome moments from the past 20 years.

We’ve got everything covered, from tear inducing reunions to shopping centre inspired corsets, so sit back, relax, grab a cider and soak up the festival vibes. Hopefully, this might ease the pain for any unfortunate souls that have to endure Axl Rose’s cacophonous screeching for two hours.  

2009 - The emotional climax of Blur's classic reunion set 

When Blur reunited for a string of shows back in 2009, no one really knew what to expect. Damon Albarn was involved with innumerable side projects - most notably Gorillaz and The Good, The Bad and the Queen – while Graham Coxon had built an impressive body of work as a solo artist. Not only was it the first time the band had played Glastonbury since 1998, the performance also served as a full on reunion, adding to the emotional gravitas. However, it didn't take long for any lingering doubts to be dispelled as the crowd of Worthy Farm were treated to one of the all-time great sets. Has there been a more intensely satisfying sight in the festival’s recent history than the look of absolute unequivocal joy and wonder on Albarn’s face during that final, surging instrumental chorus of ‘The Universal’? 

2010 - Muse bring on The Edge for ‘Where the Streets Have No Name’ 

From Kylie Minogue joining Scissor Sisters to Bruce Springsteen playing alongside fellow New Jerseyites The Gaslight Anthem, special guests are as intrinsic to an iconic Glastonbury performance as Hunter wellies are to the festival goers. Rumours there are frequent and rather famously, completely off. So when U2 were forced to cancel their headline slot in 2010, naturally people speculated that The Edge may guest somewhere, but no one seriously entertained the possibility of it actually happening. Of course, that made the introduction of the legendary guitarist during Muse’s thrilling set even more special. Although his entrance to the stage was decidedly low key, teased in with those unmistakeable synth sounds, he and the Teignmouth trio launched into a note perfect take on the undisputed king of stadium anthems, ‘Where the Streets Have No Name’. Look, I know it has never been cool to enjoy U2, but tell me when you hear those chiming guitar notes start up you don’t get chills. What a titanic, joyous moment. 

2010 - The Flaming Lips’ stirring rendition of ‘Do You Realize??’ 

Celebrating its 40^th Anniversary, 2010 was littered with remarkable moments, but The Flaming Lips - headliners on The Other Stage - were staggeringly good. Touring in support of their acid rock masterpiece, the behemoth Embryonic, Wayne Coyne’s seminal group incorporated a dazzling array of visual paraphernalia, featuring everything from confetti cannons, dancing stage mascots and obviously, a giant inflatable hamster ball which the lead singer encased himself inside and crowd surfed with. While the set was undoubtedly tremendous, their beautifully euphoric closer and signature song ‘Do You Realize??’ elevated proceedings even further. A truly moving exploration of life and death, they conclude with a slowed down, mini-encore, with only synthetic strings accompanying Coyne’s brittle vocals. “Everyone… you know, some day will die” remarked a drawl Zane Lowe on BBC’s coverage following the band’s performance, quoting the song’s most infamous line. “It’s more depressing when you sing it” quipped Lauren Laverne. 

2011 – Beyoncé’s breathtaking headline extravaganza 

Almost every song from Beyoncé’s towering set on the Pyramid Stage felt like its own separate event. Beginning with a show stopping take on her most instantly recognisable hit – the irrepressible ‘Crazy in Love’ - is something only she could’ve pulled off. Cue pyrotechnics, sax solos, immaculate choreography and a subtle guitar intro to deliberately misdirect the audience, if only for a moment. It’s difficult to think of a more iconic, wonderfully extravagant opening to a headline slot at Worthy Farm. Elsewhere, Bey threw in a surprise, piano led cover of Kings of Leon’s ‘Sex on Fire’, a Destiny’s Child medley and a typically lung busting vocal masterclass. While she wasn’t the first woman to headline, the fact that it took until 2011 for a female artist of Beyoncé’s stature to front the greatest festival on earth is depressingly absurd. 

2013 - Alex Turner completes his transformation from shy indie scamp to hip thrusting, lounge lizard 

In retrospect, the Arctic Monkeys’ first opportunity to top the bill in 2007 perhaps came too soon. Although they were remarkably tight, proficient musicians, Alex Turner himself had not yet developed into a truly compelling frontman, often static in front of the mic and offering very little stage banter or an eagerness to engage the crowd. This all changed in 2013. Propelled by the lusty, metallic stomp of their new single, 'Do I Wanna Know?’ the Sheffield group returned to Glastonbury in triumphant fashion but more significantly, Turner shed his skin to unearth what felt like an entirely different persona, landing somewhere in between a surreal amalgamation of Jarvis Cocker and Elvis. While his performances became increasingly outlandish with each subsequent tour, it was this moment that cemented him as one of the great entertainers in modern rock. 

2014 – The guitar histrionics of Annie Clark’s St. Vincent light up the Park Stage 

Every time we’re treated to a new album by St. Vincent, a new identity is usually unveiled too. In 2014, Annie Clark assumed the role of future cult leader, sporting dyed hair, grand stage garments and an angular custom Ernie Ball Music Man guitar – she would go on to design her own axe in collaboration with the very same manufacturer. Expanding on the lithe choreography of her work with David Byrne, she navigated her set on the Park Stage with a machine tooled, almost robotic precision. Clark’s squealing guitar histrionics reached a glorious zenith during the closing ‘Your Lips Are Red’, tripping and twisting over herself mid solo like a malfunctioning android while an extremely appreciative crowd lapped up every chaotic second. 

2017 – Radiohead’s perfectly curated, career spanning set 

Even by usual Radiohead standards, there was something particularly special about the Oxford quintet’s third headline show. Yes, the rain drenched 1997 performance is more commonly cited as their epoch and most iconic, but the obscene wealth of material they had at their disposal 20 years later resulted in a perfectly curated set list, covering every album. From the obtuse beauty of ‘Bloom’ and ‘Pyramid Song’ to the frenetic, apocalyptic rave inserted into ‘Idioteque’ and the peerless widescreen rock of ‘Fake Plastic Trees’, there was literally something for everyone. The band even succumb to something no one ever usually associates with them – sentimentality. Radiohead’s uneasy relationship with ‘Creep’ is well documented, so when it was squeezed in as the penultimate song at the end of two encores that, collectively, will go down as potentially the festival’s greatest ever, it sent the crowd into absolute delirium. 

2019 – “Alex from Glasto” goes viral after joining Dave on stage for ‘Thiago Silva’ 

If there’s anything that typifies the seemingly limitless and utterly unpredictable magic of Glastonbury, surely this is it. Getting fans up on stage is great when things run smoothly but it can quickly devolve into a painfully awkward and embarrassing spectacle, especially when it comes to rap. Luckily, chart topping London rapper Dave plucked out a young man in the crowd by the name of Alex to perform his 2016 track, ‘Thiago Silva’. Adorned with the obligatory festival bucket hat and bum bag but more importantly, a PSG football shirt, it was the perfect setup. And boy, did he nail it. For a set that featured such dark, weighty themes, this was a moment of pure joy. Also, a side note, if this clip doesn’t leave you with at least a smile on your face, book an appointment with your local GP, because there’s a chance you might not actually be human. 

2021 – Jorja Smith dazzles in the woods for special Live at Worthy Farm edition 

In all honesty, I could have picked almost any of the performances from the Live at Worthy Farm stream, as there were so many highlights but Jorja Smith in particular was mesmerising. Set against a scenic woodland backdrop after sunset, the British R&B superstar-in-waiting dazzled with her sumptuous, soothing vocal work and was entirely faultless throughout. The beautifully shot feature rounded off proceedings with her Burna Boy assisted Top 10 hit, ‘Be Honest’. It’s just a shame that a plague of technical problems prevented or deterred so many from tuning in to see a film that perfectly captured the almost mystical essence of Glastonbury. 

2022 – HAIM finally get their prime time moment on the Pyramid Stage  

The three sisters from LA were always destined to return back to Worthy Farm’s biggest stage after making their debut there with an impressive midday slot back in 2013. The only surprise is that it took almost ten years for that to happen. Gleefully storming through the many hits of Days Are Gone and giving the outstanding Women in Music Pt. III the long awaited showcase it deserved, Danielle, Alana and Este reminded us all why the group quickly became one of the most beloved live acts, displaying the usual, playful banter, thrillingly taut and dynamic playing – the sisters regularly swap instruments – and unrelenting, infectious energy. The next time they return, a headline slot somewhere must surely be on the cards. 

2022 – Self Esteem’s emphatic Prioritise Pleasure victory lap 

There’s no other way to put it, Rebecca Lucy Taylor owned 2021. Prioritise Pleasure, her second record under the Self Esteem moniker, was an astounding, progressive pop leviathan, garnering mass critical acclaim and decorating many end of year lists. Her live shows are equally as exciting and a previous appearance at Glastonbury saw her don a dress comprising entirely of Boots advantage cards. This time around, Taylor took to the stage with an intricately constructed corset that paid homage to Sheffield’s very own Meadowhall dome. However, the set didn’t hinge on this amusing aesthetic. What we were given was a cathartic victory lap, brought home with the magnificent ‘I Do This All the Time’, the equivalent of receiving a big, warm reassuring hug from a friend, while they tell you that actually, everything is going to be ok. 

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More about: Glastonbury Festival