Glasto is one of the worst music festivals on the planet, and is only worth watching remotely, which is what I did. I skipped most of it and only caught bits and pieces. If those were interesting, I watched more, and if they weren’t I found something better to do.
The big story to come out of this year’s event was pro-Palestinian politics in the shape of some Irish rap-outfit called KNEECAP, whom I’d only heard of from earlier “controversy hyping,” and BOB VYLAN, a rap duo that was trying to play the same game. All this was tedious and had little to do with music...or politics for that matter, which generally doesn’t rely much on minor pop stars noticing things.
Among the more substantial performers, GARY NUMAN’s first slot at Glastonbury got me watching. His backing band was at least a generation younger than himself. But there was something a bit turgid about the performance, and the camera close ups didn’t help -- heavy eye-liner only works on young people as passing time lines eyes naturally.
I found the LIBERTINES to be a bit of brash fun in a cheery pub band sort of way. But the standout this year was ROD STEWART’s "Legends Slot" performance. At one level it was boomer-pleasing cringe, but at another, it was solid entertainment and a reminder of the giants of the British rhythm n’ blues boom of the 1960s and their enormous impact on popular music.
Rod appeared on stage to the strains of bagpipe music and immediately launched into an energetic version of “Tonight I’m Yours.” His intent was clearly to put all those doubts about an 80-year-old man rocking straight to bed and to then get on with the show. With well-drilled support -- tall, leggy blondes in red dresses providing backing vocals (and strings) and a tight band -- any flaws or weaknesses could be quickly covered up, as Rod took the milling masses of Middle England through what I assume is his usual "Greatest Hits n’ Picks" package.
Sure, it plodded at times -- "Some Guys Have All the Luck" and "Baby Jane" -- and the voice showed signs of occasional raggedness, but with a voice that is a gravelly tenor anything in this direction outside a disaster just reinforced the brand.
"Love Train," a 'pick' rather than a 'hit,' was preceded by a few banal words about the tense World situation. But this seemed to trigger the right reaction in the audience, who from that point on seemed to be hooked. CAT STEVENS’ "The First Cut is the Deepest" -- laced with strings -- showed off Rod's smoky rasp at its best. The slow tempo of this and the next song "Tonight’s the Night" also gave Sir Rod a chance build up his strength to kick up the energy levels for a Celtic-infused "Forever Young." (Yeh, Rod, we already got the message!)
It was hard not to notice the old trooper's mastery of dynamics or the way the other performers filled in and took the spotlight off him long enough to give him a bit of a rest and another swig of whatever energy drink he was on.
The lyrical sophistication of "You Wear It Well" and "Maggie May" (marred by the usual attempt to get the audience singing along) reminded us once again that behind the bar-room boogie of FACES-era Rodders, there was also a keen intellect and the instincts of a true poet.
The next part of the show was probably the most challenging, as Rod went into overdrive with "Young Turks" and "Do You Think I'm Sexy?" songs typical of the faster paced fare Rod offered his fans in the Eighties. These sandwiched another excellent 'pick' in the shape of R&B soul classic "I’d Rather Go Blind."
After a bit of a break, during which the backing singers moved to the front and did a 'spirited' version of "Lady Marmalade," Rod came back on refreshed in a garish pink suit. At this point Glasto owner Michael Eavis was wheeled on for a hug followed by crying-in-your-beer classic "I Don’t Want to Talk About It," handled with Rod's trademark mixture of rabble rousing showmanship and soulful sensitivity -- a measure of his potency as a performer.
We were now on the home straight. With shouts of "we’ve only got an hour and a half," Rod now dragged three fellow 'legends' of various luminance onto the stage to support him. Mick Hucknall of SIMPLY RED added soul-singing muscle to “If You Don’t Know Me By Now.” Next ROLLING STONES axeman Keith Wood emerged for a rollicking rendition of the ultimate Rod Stewart song, "Stay With Me," which the pair penned back in 1971 when in the FACES together. The raw, bluesy tone, slide-guitar runs, and rattling tempo changes were all pristine, although Ronnie looked like he had escaped from a taxidermist.
Next up we had of LULU, who was looking disturbingly young and energetic for someone who has been on a bus pass for nearly 20 years. She who did an energetic duet with Rod on "Hot Legs."
Having landed on Planet Glasto and made his mark, Stewart’s next problem was how to exit with a big finale. Not for him chants of "Death to the IDF" or waving Hamas flags about. Instead he launched into his signature ballad "We Are Sailing," admittedly a bit of a dirge but one that became a rather emotive anthem back in 1982 when Britain’s heroic armada sailed off to reclaim the Falkland Islands from the dastardly Argies. But added to this was the somewhat odd visuals of everyone in the band donning Glasgow Celtic shirts. Meanwhile Rod was resplendent in an emerald green suit.
The Celtic thing is Rod’s link with his 'Scottish' roots, but also served as a nod towards the Palestinians, as Celtic fans are big supporters of the Palestinian cause. We won’t mention the IRA connection as well, as nobody else did.
The Celtic thing is Rod’s link with his 'Scottish' roots, but also served as a nod towards the Palestinians, as Celtic fans are big supporters of the Palestinian cause. We won’t mention the IRA connection as well, as nobody else did.
Colin Liddell
Revenge of Riff Raff
30th of June, 2025
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