Kasabian, The Black Keys, Disclosure and Dolly Parton closed this year's festival at Worthy Farm
Glastonbury 2014 came to a close this evening (Sunday June 30), with headline performances from Kasabian, Disclosure, James Blake and Massive Attack.
Comedian Noel Fielding joined Kasabian on stage during their closing set on Glastonbury’s Pyramid Stage, which saw red flares burning in the crowd, cryptic messages on the screen and a tribute to Bobby Womack, who died this weekend.
The set began with the background screen displaying the distinctive pink colour used on the sleeve of new album ’48:13′, and the band began with a heavy version if album track ‘Bumblebee’, as the word ‘Bumble’ was displayed behind then. Throughout the set, cryptic messages appeared on the screen: among them ‘Voucher’, ‘Canister’ and ‘Dhalsim’. Read the full report here.
Massive Attack headlined the Other Stage with a set that included political visuals and strobe lights. Before ‘Risingson’, Robert Del Naja thanked the crowd in what was a performance of few words but covered tracks from across their back catalogue, including ‘Future Proof’ from their 2003 album ‘100th Window’ and classics from 1998’s ‘Mezzanine’ including ‘Teardrop’. Set closer ‘Unfinished Sympathy’ saw singer Deborah Miller join the band on stage.
Disclosure brought a string of guests out for their headline set on the West Holts stage. Begining with an extended performance of ‘F For You’ which led into ‘When A Fire Starts To Burn’, they then called up Friendly Fires’ Ed Macfarlane for their collaboration ‘Defeated No More’, after which they remarked: “We’ve gotta say, it’s pretty damn fun up here”. Eliza Doolittle was brought on board for ‘You & Me’, and then later, after declaring the “party started”, they invited Aluna Francis of AlunaGeorge out for ‘White Noise’, which reached Number Two in February 2013. “This is absolutely insane right now, they said afterwards. “We wish you could be stood up here with us.”
At the end of the night they described the set as “probably one of the best shows we’ve ever played” before playing ‘Help Me Lose My Mind’. Sam Smith – who played in his own right earlier today – joined the band for set-closer ‘Latch’.
Taking to The Park stage at 9.10pm, James Blake and his two piece band opened their sunset headline performance with ‘CMYK’. In front of a backdrop of light-up screens the electronic artist then broke into his cover of Feist’s ‘Limit To Your Love’.
After a soulful ‘A Case Of You’ and emotive ‘Overgrown’, ‘Digital Lion’ featured a ravey breakdown that was at odds with the mellow mood of the previous songs. Though Blake’s flatmate and collaborator Chance the Rapper was also playing the festival today, he did not appear on Blake’s rendition of their collaboration ‘Life Round Here’, as he was performing on the John Peel Stage at the same time as Blake’s Park set. A cover Bill Withers’ ‘Hope She’ll Be Happier’ was a set highlight, as was ‘Retrograde’.
Trio London Grammar closed the John Peel Stage, telling the crowd what an honour it was to be playing “the best festival in the world, on a stage named after one if the greatest DJs there ever was.”
Their downbeat set in the packed tent started at 10.15pm and drew from their 2013 debut, ‘If You Wait’, including ‘Sights’, ‘Stay Awake’, their cover of Kavinsky’s ‘Nightcall’ and ‘Strong’, which received huge cheers when it was introduced by singer Hannah Reid. Reid played keyboards for the stripped back ‘If You Wait’, over which the distant rumble of Kasabian’s headlining set on the Pyramid Stage could be heard.
Chance The Rapper took to the John Peel stage at 8.45pm backed by a live band, kicking off with tracks from his breakout ‘Acid Rap’ mix tape. “How many people have heard of my ’10 Day’ mix tape?” he asked, to great cheers. “That’s a lot more people than usual. Lets do a ’10 Day’ song,” he said, before playing ‘Brain Cells’.
Returning to ‘Acid Rap’ for ‘Lost’, he then announced “enough slow shit” before launching into ‘My Favourite Song’, which had the crowd bouncing in unison. “Here’s a song you’ve never heard before, but you’ll know every word,” he said cryptically, before playing his cover of the theme from ’90s children’s cartoon Arthur. He followed with new track ‘Home Studio (Back Up In This Bitch)’ and then the first single from ‘Acid Rap’, ‘Juice’. The set’s biggest singalong moment was on ‘Cocoa Butter Kisses’, while ‘Interlude (That’s Love)’ featured a long trumpet solo. Chance gave the crowd the choice of ‘Paranoia’ or ‘Paradise’, before playing the former as a finale.
Black Keys set the stage for headliners Kasabian with the penultimate Pyramid Stage show of the weekend. Making their entrance to a recording of a hypnotist counting backwards from ten, the Ohio blues-rock duo opened with ‘Dead and Gone’ before going into 2011 single ‘Next Girl’.
New album ‘Turn Blue’ seemed strangely under-represented, with only ‘It’s Up To You Now’, ‘Gotta Get Away’ and lead single ‘Fever’ making the 16-song setlist. The band instead chose a career-spanning set that kept the large crowd enthralled. “Thank you for spending time with us this evening,” frontman Dan Auerbach told the audience before ‘Gold On The Ceiling’.
“There’s so many of you out there, it’s a little bit overwhelming,” said Auerbach as he introduced ‘Strange Times’. “This song is a bit of an oldie for us. We played this on the John Peel stage a while back.” Shortly after that, the band ramped things up with a closing run of hits including ‘Tighten Up’, ‘Fever’, ‘Lonely Boy’ and the closing ‘Little Black Submarines’.
Kate Tempest played an early evening set at the Left Field stage and thanked Billy Bragg for inviting her to play Glastonbury’s most political stage. Her set was spared the technical problems that blighted her show at The Common’s Rum Shack on Thursday night. Backed by producer Dan Carey and band, she ran through tracks from new album ‘Everybody Down’ and thanked everyone in the audience who had supported the album. At the end she invited the audience to attend one more of her shows, taking place the same night at the Crow’s Nest in The Park.
St Vincent began her set on the Park Stage with ‘Rattlesnake’ and ‘Digital Witness’ before saying hello to the “freaks” at the festival. “Hello ladies and gentlemen of Glastonbury, and hello to the freaks and the others of Glastonbury,” said Annie Clark. “I think we have something in common.”
The Oklahoma-born performer showcased her impressive guitar skills on the next two tracks, and the slow ‘Surgeon’ saw Clark tip toeing across stage like a ballerina, ending in a maelstrom of guitar solos and glitchy noise. ‘Cheerleader’ and ‘Prince Johnny’ followed, the latter ending with Clark lying, head downwards, on three illuminated steps on stage. The latter part of the set saw ‘Birth In Reverse’ being played and concluded with Clark leaving the stage to greet the front frow, still wielding her guitar.
Bombay Bicycle Club drew a sizeable crowd to their mid-evening Other Stage gig, bringing out a host of female vocalists to join them through the set. Collaborator Lucy Rose, who performed solo earlier today, was introduced by singer Jack Steadman as “a very old friend” and came out to sing on ‘Lights Out, Word’s Gone’ while Rae Morris – who features on the band’s current album ‘So Long, See You Tomorrow’ – joined the group for ‘Luna’. Backing singer Liz Lawrence also guested throughout the set, singing the parts originally performed by Rose and Morris.
As well as their collaborations, Bombay Bicycle Club also played a selection of tracks spanning their career including ‘Shuffle’, ‘Always Like This’ – during which the audience sung back the refrain as Steadman encouraged them – and forthcoming single ‘Come To Me’. Nearing the end of their set, guitarist Jamie MacColl addressed the crowd, stating, “Three years ago we played this stage and looking back we were like terrified boys, but now we feel like we belong here”. The quartet then finished with ‘Carry Me’.
Yoko Ono played a 45-minute set at The Park Stage backed by Yo La Tengo’s Ira Kaplan, Georgia Hubley and James McNew. The show combined beat poetry and rock’n’roll. She dedicated ‘I’m Moving On’, originally released in 1980 on her and John Lennon’s album ‘Double Fantasy’ to “all the change we can make in the world”.
The set’s heaviest moment was the opening riff to ‘Don’t Worry Kyoko’, released in 1969 as the B-side to Lennon’s ‘Cold Turkey’, written about Ono’s search for her daughter from her first marriage. Towards the end of the set she read a meditative “affirmation” from a book of lyrics, before closing with a hail of feedback.
The Horrors competed against the tail end of Dolly Parton’s well-attended set, pulling a fairly small but responsive crowd to their 5.20pm slot on the Other Stage. Largely drawing on second album ‘Primary Colours’, the band played tracks including ‘Who Can Say’, ‘Mirror’s Image’ and ‘Scarlet Fields’ from the same before bringing out two female backing vocalists for a cover of ‘Your Love’ by Frankie Knuckles, who died this year.
Continuing to play ‘So Now You Know’, taken from current album ‘Luminous’, singer Faris Badwan thanked the crowd for attending – one of many times throughout the set where he did so – before finishing with old single ‘Still Life’ and an extended version of ‘I See You’.
Following his triumphant headline set at the Other Stage on Saturday night, Jake Bugg‘s second show of the weekend was a much smaller-scale affair, an early-evening set at the Acoustic tent. Though perhaps not as busy as anticipated – the second victim of the Dolly effect – the steady trickle of fans arriving from the end of her Pyramid Stage set ensured that it was packed out by the end.
Bugg was without his band for this stripped-down performance, which opened with ‘There’s a Beast And We All Feed It’ and ‘Trouble Town’. “Everyone having a good weekend?” he asked before ‘Me and You’, which was followed with ‘Storm Passes Away’ and ‘Broken’, which provided the set’s first singalong moment.
Things ramped up with ‘Two Fingers’, from Bugg’s self-titled 2012 debut, which had the whole tent clapping along and chanting its chorus, while the ‘Shangri La’ bonus track ‘Strange Creatures’ also got a rare airing. A highlight of the set was his cover of Neil Young’s ‘The Needle & The Damage Done’, before ‘Lightning Bolt’ brought things to a close.
Ed Sheeran began his set on the Pyramid Stage beatboxing, backed by three video screens and his acoustic guitar, opening with ‘You Need Me Man I Don’t Need You’ and ‘Lego House’. “I do some slightly depressing songs at points, but this one’s a happy one on the new album,” he said before playing ‘Thinking Out Loud’ from new album ‘X’.
Earlier, while soul singer Sam Smith covered Arctic Monkeys’ ‘Do I Wanna Know’ on The Other Stage, country & western superstar Dolly Parton treated a capacity Pyramid Stage crowd to a brand new song about Glastonbury’s famous mud. “When we arrived at five o’clock this morning I looked down and saw these workers and they were knee deep in mud and I thought, ‘Well, I’ll write a song about it’,” she said.
The 1975 drew a huge crowd to the Pyramid stage for their Sunday afternoon set. Opening with ‘The City’ and ‘M.O.N.E.Y’, frontman Matthew Healy joked with the crowd, “It’s your Sunday, Dolly Parton is in the building! She’s here, but she’s kind of crazy. She was trying to get off with Ed Sheeran…”
Following ‘So Far’, the energetic Healy told the crowd, “This is incredible, we are so happy to be here.” He also found time to sing happy birthday to a crowd member and use another’s phone to take a selfie during ‘Pressure’. Before the set closed with ‘Sex’, Healy told the audience that “I’m sure I can speak on behalf of the boys when I say this this is the most special show we’ve ever played. This is fucking mental. Glastonbury we love you!”
The Kooks played an unlisted show at 2.45pm on the John Peel Stage, opening with ‘Down’, from the Brighton band’s upcoming fourth studio album ‘Listen’. Frontman Luke Pritchard was sporting a snug, black-and-white striped clown costume for the set. Other new songs to be aired included ‘Around Town’, for which they were joined by a gospel choir, and ‘Bad Habit’.
“It’s magic to be back in Glastonbury,” said Pritchard. “Its been a little while for us. If you guys remember our first album, we’re going to play a few for you now.” The band then played ‘”She Moves in Her Own Way’ plus ‘Sofa Song’, ‘Seaside’, ‘Ooh La’ and ‘Naive’ from their 2006 debut ‘Inside In/Inside Out’, all of which drew massive sing-alongs from the busy crowd.
George Ezra took to the John Peel Stage at 1.50pm, opening with ‘Blame It On Me’. “When I found out I was playing the John Peel Stage I was a very happy bunny. Mostly because I thought it was going to rain and you’d all come in here,” said Ezra to the packed-out tent after the first song. “But it’s sunny and you’re here anyway, so thank you very much.” He followed it with the single ‘Cassy O’.
Ezra went on to inform the excitable crowd that his debut album, ‘Wanted On Voyage’, is set for release tomorrow (June 30). The biggest reaction however was saved for ‘Budapest’, with the crowd singing along with the chorus, causing Ezra to exclaim ‘lovely!’ during the track.
Birmingham indie group Superfood previewed songs from their debut album on the William’s Green stage this afternoon. The quartet launched into their 2pm set with an energetic rendition of ‘TV’ before heading straight into new single ‘Right On Satellite’.
“How is everyone doing?” frontman Dom Ganderton asked the crowd. “Sun’s out!” he added. The band then played three previously unreleased songs before heading back into more familiar territory with ‘Melting’, which featured on their debut release, the ‘MAM’ EP, earlier this year. Their 30 minute set concluded with ‘Bubbles’, which saw one fan attempt to crowd surf, and their eponymous first track, ‘Superfood’.
The Preatures took to the John Peel Stage shortly before 1pm bringing more and more fans into the tent as their set rolled on. Lead singer Isabella Manfredi wore a white T-shirt with the phrase “New York is for lovers” on the front as she dedicated ‘Threat’ to “All the ladies in the audience.”
Later on in the set, Manfredi pulled a series of handstands and cartwheels as the band played a new, unnamed song before later asking the audience if they were “ready to dance really badly” as the Australian band ended their appearance with an energetic rendition ‘Is This How You Feel?’
Blackpool trio Darlia opened the John Peel Stage. Making their way out at 11am, the band brought in a decent sized audience wth drummer Jack Bentham stripping to the waist early on in the set.
With just 30 minutes onstage, Darlia played a set including tracks ‘Dear Diary’, ‘Candyman’ and ‘Animal Kingdom’ with frontman Nathan Day raising his guitar up above his head and smashing it in half following final song ‘Queen Of Hearts.’ Other bands set to play the John Peel Stage today include headliners London Grammar and a ‘surprise’ set from The Kooks.
The Pyramid Stage was opened by Billy Bragg, who remarked that he felt “a bit Spinal Tap” before playing ‘Between The Wars’. He emphasised the lyric: “l’ll give my consent/To any government/That does not deny a man a living wage” as a nod to his involvement in the current Living Wage campaign.
Bragg then told the audience that yesterday (June 28) was the 100th anniversary of the assassination of Archduke Franz Ferdinand of Austria, an event which led to World War I. He introduced a video of World War I veterans and widows sharing their memories of the reality of war, which one veteran from Somerset described as “bloody awful”.
The video was followed by a performance of ‘Dust’ by the English National Ballet. Choreographed by Akram Khan, who also planned the London 2012 Olympic opening ceremony, the performance explored the empowerment of women in the war. Beginning by evoking the disappearance of men into the trenches, it then dealt with how women became Britain’s major workforce.