Unless you’ve been hiding under a rock since 1970 you will be aware of the five-day Glastonbury festival held every June (apart from “fallow” years to rest the land and the organisers), near Pilton in Somerset. Glastonbury is as much a pillar of the English summer as tennis at Wimbledon or opera at Glyndebourne.
It’s a white, middle-class rite of passage and an easy win for people wishing peer approval and the cultural capital that comes with the price of a ticket. It’s expensive and exclusive and the booking policy reflects its audience.
This year’s headliners include indie pop-rock darlings The 1975, angry girl supreme Olivia Rodrigo, old-school superstar Neil Young with his band the Chrome Hearts, with family favourite Rod Stewart filling the Sunday teatime “legend” slot.
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Other acts filling the 100-plus stages include Brat popster Charli XCX, English hip-hopper Loyle Carner, original bad boys The Prodigy (without original frontman Keith Flint, RIP) plus Raye, Doechii, Noah Kahan, Gracie Abrams, and old pros Alanis Morissette, En Vogue and Gary Numan.
With tickets costing £378.50 for Glastonbury 2025, are the 210,000 attendees getting value for money?
A Reddit thread titled “Glastonbury 2025 lineup, thoughts?”, gives a flavour of some commonly aired opinions. Disappointed customer praf973 “tried to get tickets but was unsuccessful. I’m not bitter, but the line up isn’t really looking that great.” Another commenter, Whilst-I-was-forced, declared: “Nothing to get excited about. It’s gone too commercial and sterile.”
Ok_Handle_3530 gave a different perspective: “This line-up looks … great, people are too hard to please.” ShankSpencer opined, “There are no good line-ups any more. No one young listens to bands any more, so there are no headline acts.”
The exceptionally popular festival sold out in 35 minutes this year even before the artists had been announced, raising the question: has Glastonbury become a victim of its own success?
Last year there were issues with overcrowding at some of the smaller stages creating issues for fans wanting to see acts such as the Sugababes. Some sets were even being stopped early because of crowd surges.
But what’s really behind these complaints about the lineup and are they justified? There’s been a changing of the guard as the veteran generation of performers from the 1960s, 1970s and 1980s step back from performing because they have retired, are too ill or have died.
There doesn’t seem to be enough credible stadium acts from the 1990s onwards to fill their shoes, leading to a lack of enthusiasm for the current offerings. The new generation of acts have an opportunity to impress, but many of them don’t have the volume of hits that legacy acts such as Elton John or Paul McCartney provide – nor the cross-generational appeal.
There is also a growing sense that the cultural importance of the rock band is fading. Gen Z has far more in the way of distractions than previous generations with myriad forms of social media and digital entertainment. With so much competition for their attention, the tribal allegiances that bands used to command may feel dated and irrelevant to many younger people.
On their single Guys, one of this year’s headliners, The 1975 trill: “The moment that we started a band was the best thing that ever happened.” Perhaps lead singer Matty Healy’s love affair with the mythology of rock’n'roll is no longer widely shared.
Glastonbury has also been criticised for a lack of diversity. Clubbing magazine Mixmag made the point that in 2023, “the number of male acts playing this year’s Glastonbury Festival is nearly double that of female acts”.
Similarly, the festival’s lineup and audience are predominantly white and fail to adequately reflect the British music industry. Though there have been a few black bands and artists headlining over the years, it wasn’t until 2019 that the first solo black British performer headlined on the Pyramid stage, with an unforgettable set from London rapper Stormzy in a black Union Jack stab vest designed by Banksy.
For Glastonbury to move with the times, a more diverse booking policy is needed to widen the audience demographic and the festival’s appeal. Despite having enjoyed the event, mixed-heritage music journalist and academic Jenessa Williams noted: “I was still left with the feeling that certain punters saw black artists as a mockable novelty, a by-product to tolerate rather than truly a piece of the event’s heart and soul.”
And then there’s the issue of cost. According to a 2024 report, two-thirds of UK adults feel that music festivals are becoming too expensive. Popular music artists have had to pivot towards live events for income generation because of the poor returns from streaming compared to selling albums.
So are major tours and larger festivals such as Glastonbury sucking revenue out of the music economy? Research shows that while big high-profile event tours are making millions, at the other end of the spectrum grassroots venues – where new talent is incubated – are buckling under a lack of support and the prohibitive costs of running their operations.
Glastonbury won’t be making an appearance in 2026, the next fallow year for rest and recovery. This will create an opportunity for organiser Emily Eavis to reflect on some of the more problematical issues the festival faces, from diversity in the audience and artists, to the sustainability of the talent pipeline.
Maybe the last word should go to American rapper Azealia Banks commenting on this year’s festival lineup: “Glastonbury is kinda cooked.”
Adrian York does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
This article was originally published on The Conversation. Read the original article.
