Glastonbury as Cultural Super-Collider for the Anthropocene
Glastonbury is where we try to metabolise our confusion with the hopeless contradictions of the Anthropocene. It’s capitalism that builds the sound stages and the lighting. Capitalism ships in the vegan burgers and prints the tickets that make the impossible possible by creating a marketplace for bartering labour in exchange for a weekend of sound, community, and the dream of living beyond capitalism. And it’s capitalism that brokers nature with the shared joy of music.
I watched on BBC iPlayer from the comfort of my sofa, cup of tea, and wine, in hand as I enjoyed the spectacle and the commentary without having to make the muscular effort of dancing or the mental effort of challenging my perceptions by engaging with others. Was I watching the end of the world play out in electronic microcosm, or the beginning of a new one that I refused to be a part of?
For three days I reviewed what I saw and listened to in terms of the music and the performance, and didn’t really stop to think much about what was going on. It's only now, the day after, that I start to think about the textures of production and consumption as they crash together in destruction and creation. What’s below is repeated verbatim from Facebook, so please excuse the more casual language and observations!
Glastonbury is the cultural super-collider for the Anthropocene. As Rod Stewart and Neil Young sing their extended farewells, The 1975 and Olivia Rodrigo show us the way towards both a ponderous irony and the hopeful clarity of youth. We reach for meaning in music, even as nature screams. Glastonbury offers us the chance to learn the joy of living together on a vulnerable and damaged planet; but that isn’t enough. Here’s my review of the music I saw in digital time and space.
Day 1
It's Glasto this weekend. So not much time for news and real life.
The 1975 headlined the first night. I'm not sure what to make of their performance. It was like two different bands with an interlude when someone changed his trousers.
The second half was impressive, moving, and the audience response showed how good they can be. The first half was a bit weird and I'm not sure I could "get" all the irony and meta-performance.
But, well worth it for the second half alone.
Day 2
Impossible to say who my favourite from day two of Glasto could be.
The secret band that everyone knew would be Sheffield greats Pulp was indeed Pulp, and Jarvis Cocker was suitably odd, and brilliant, sending the crowd wild with a heavy and punchy Common People.
Then there was the Ezra Collective, a fusion of jazz, afrobeat, and calypso, with hip hop and pop thrown in, and amazing energetic dance rhythms. Wow!
But Doechii was simply incredible. So much energy, rhythm, and athleticism. I had no idea! You absolutely have to see her. I'm not into rap much, as I'm not that generation or culture, so don't really understand it, but she was fantastic.
Then there was Neil Young, who I had been wondering might be past it, but like Cocker was simultaneously odd and brilliant. His whiny, shaky, ragged voice still there, and his message as relevant today as it has always been.
Tom Odell later on was superb, a hugely talented musician who fills up an enormous tent with melodies and energy.
Jade was brilliant, transforming her pop into a heartfelt festival event, with an extended, and wonderful, performance of Angel of My Dreams.
Didn't see Kneecap, and don't have an opinion on them, but I think Glasto is the place to show them. The festival has always been political, and if you don't like it, then go watch the Last Night of the Proms instead.
Rod Stewart tonight ... Hmmmmm!
Day 3
I must say, I was sceptical of Olivia Rodrigo closing out Glasto on the final night. But I was wrong. She was fantastic. Inviting Glasto legend Robert Smith of The Cure early to duet Friday I'm in Love and then I'm in Heaven, was a smart tactical move -- and not so easy to achieve -- and provided a brilliant way to show off her own harmony skills. She sang better than he did, for sure! The BBC's Jo Whiley (at age 59 it's a Phwooooaaaaar from me!) was delighted, ahem, and with parents' (and grandparents') approval gained, the kids are left to play!
Rodrigo's clearly a great singer, songwriter, and performer, and was easily the best of the three headline acts to play this weekend. She even plays an instrrument or two! She had done her research and knew what Glasto wanted, and delivered handsomely. What else?
That old romantic rocker Rod Stewart was fun, as expected, as the traditional Sunday evening has-been warm up act. Another that I was sceptical about. But he surrounded himself with a bevvy of beautiful blonde and talented women, and this old has-been couldn't complain, especially with a back catalogue that stretches back further than Maggie May. He took a bit of time to warm up his voice, but one hit after another got everyone singing along so he didn't have to. 'Guest' Ron Wood showed he can still play, and Lulu was completely over-excited to be on stage with Rod!! The ubiquitous Sailing was moving, as he linked arms with his girls, all wearing Celtic football shirts and sailor's caps.
The Prodigy made a poignant come-back, if 'poignant' can be used in the same sentence as The Prodigy! They were electrifying, sadly without Keith Flint, of course.
I enjoyed Shaboozy earlier in the day. You don't expect a country and western sound coming from a native Nigerian with a multi-cultural band. He staked his claim on the landscape of the American West with the wonderful shifting photographic backdrop, and sang with a deep and rich melodious voice. Loved it!
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We are all participants in a grand planetary transformation. Earth is becoming something else because of us. Soon we’re going to need to call it that something else. Not Gaia. That’s an insult to Gaiai. Even so, the spirit of Glastonbury offers us a chance to live the change, to think and sing differently, though it’s not going to be comfortable. It offers a chance to learn how to heal. It won't be around next year, as the land will lie fallow to allow it to recover. Maybe we all need to lie fallow.