BBC director-general was at Glastonbury during Bob Vylan performance
The performance at the West Holts Stage was livestreamed by the BBC but the organisation later expressed regret for not stopping its broadcast of the 'unacceptable' set.
A BBC spokesperson said: 'The director-general was informed of the incident after the performance and at that point he was clear it should not feature in any other Glastonbury coverage.'
The news of Mr Davie's presence at the festival comes as the Chief Rabbi Sir Ephraim Mirvis berated the BBC for what he called 'the airing of vile Jew-hatred' and the broadcaster's 'belated and mishandled response'.
The corporation has faced strong criticism for continuing to livestream the performance on iPlayer with on-screen warnings about discriminatory language.
Broadcasting regulator Ofcom saying it was 'very concerned' by the decision and the Culture Secretary claimed the issue should have been foreseeable and constituted 'a problem of leadership' for the BBC.
In a post on X, Sir Ephraim wrote: 'This is a time of national shame.
'The airing of vile Jew-hatred at Glastonbury and the BBC's belated and mishandled response, brings confidence in our national broadcaster's ability to treat antisemitism seriously to a new low.
'It should trouble all decent people that now, one need only couch their outright incitement to violence and hatred as edgy political commentary, for ordinary people to not only fail to see it for what it is, but also to cheer it, chant it and celebrate it.
'Toxic Jew-hatred is a threat to our entire society.'
Irish rap trio Kneecap, including member Liam Og O hAnnaidh who appeared in court earlier this month charged with a terror offence, took to the stage directly after Bob Vylan and led chants of 'Free Palestine'.
On Monday, Avon and Somerset Police said it had launched a probe into both performances after reviewing video footage and audio recordings, with a senior detective appointed to lead the investigation.
A police spokesman said: 'This has been recorded as a public order incident at this time while our inquiries are at an early stage.
'The investigation will be evidence-led and will closely consider all appropriate legislation, including relating to hate crimes.'
In a statement on Monday, the BBC said: 'Millions of people tuned in to enjoy Glastonbury this weekend across the BBC's output but one performance within our livestreams included comments that were deeply offensive.
'The BBC respects freedom of expression but stands firmly against incitement to violence.
'The antisemitic sentiments expressed by Bob Vylan were utterly unacceptable and have no place on our airwaves.
'We welcome Glastonbury's condemnation of the performance.
'The performance was part of a livestream of the West Holts stage on BBC iPlayer.
'The judgment on Saturday to issue a warning on screen while streaming online was in line with our editorial guidelines.
'In addition, we took the decision not to make the performance available on demand.
'The team were dealing with a live situation, but with hindsight we should have pulled the stream during the performance. We regret this did not happen.'
US deputy secretary of state Christopher Landau announced that Bob Vylan's US visas had been revoked due to 'their hateful tirade at Glastonbury', with the duo scheduled to tour in Chicago, Brooklyn and Philadelphia in October.
Culture Secretary Lisa Nandy told the Commons on Monday the Government was 'exasperated' with the 'lack of account from the leadership' at the BBC.
Ms Nandy said the incident at Worthy Farm had raised 'very, very serious questions at the highest levels of the BBC about the operational oversight and the way in which editorial standards are understood', adding that she wanted to see 'rapid action' from the broadcaster.
Cabinet minister Jonathan Reynolds said the scenes at Glastonbury raised wider concerns about society.
He told BBC Radio 4's Today: 'There are some lessons, I think, for broadcasters from this, but let's also not shy away from the issue, which is people in a crowd glorifying violence.
'I don't think it's something we'd associate with any music festival, but it's a wider societal problem.'
He added:'It's possible, I think, to be completely concerned by the scenes in Gaza and not stray into the kind of behaviour and endorsement that we saw with that performance.
'And I'm deeply shocked to be honest, that people would even not realise what I think they're participating in when they do that.'
Glastonbury Festival organisers also condemned Bob Vylan's chants, saying it was 'appalled' by what was said on stage, adding 'there is no place at Glastonbury for antisemitism, hate speech or incitement to violence'.
Bob Vylan formed in Ipswich in 2017 and have released four albums addressing issues such as racism, masculinity and class.
Bobby Vylan is the stage name of Pascal Robinson-Foster, 34, according to reports. His bandmate drummer uses the alias Bobbie Vylan.
In a statement posted to Instagram, he said: 'Teaching our children to speak up for the change they want and need is the only way that we make this world a better place.
'As we grow older and our fire starts to possibly dim under the suffocation of adult life and all its responsibilities, it is incredibly important that we encourage and inspire future generations to pick up the torch that was passed to us.'
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He was driving up from Sussex, listening to U2 on the radio, and they were so good, he was getting really nervous, especially because once he'd said yes, given the hierarchy in pop, with the Beatles unassailable at the top, he had the added burden of closing the show. 'Paul asked me which song he should do and I said Let It Be, because it's a benediction. Then his mic fails and Pete Townshend [Geldof had bounced the Who into appearing by announcing on TV that they were reforming, which was news to them] grabs me from one side and says, 'Let's help him,' and David Bowie grabs me from the other, and with Alison [Moyet] we went out to sing along.' McCartney was not the only nervous superstar that night. 'David Bowie was literally trembling at the side of the stage before his set. Really scared. We were watching the viewing figures and becoming aware of the sheer size of the audience [close to two billion].' Before his performance, earlier on, Geldof had lain on the floor backstage to stretch out his painful back. 'David [Bowie] came by and said, 'What's the matter?' I told him and he said, 'Roll over,' and started massaging me. I'm saying, 'Bit further down, mate,' to David f***ing Bowie!' Geldof doesn't want to be overly critical of the latest documentary. 'But there were too many redundant DJs from the 1980s and some great performances not seen. Elvis Costello riffing on All You Need Is Love, Elton John and George Michael. I don't want to sound self-aggrandising but it was a fabulous gig. And it said, 'Change is possible, there is such a thing as society and for once in our lives, something can work.'' And, as Tony Blair says in the third episode, thanks to Band Aid and Live Aid, 'millions of people are alive today who otherwise wouldn't be'. Geldof still spends at least an hour a day, every day, 'including Sundays', on his role as chair, and one of six trustees, of the Band Aid Charitable Trust. Midge Ure, his co-founder, is another trustee, as is Harvey Goldsmith, who promoted Live Aid. That morning, he had listened to a brief about Somalia from a group asking for $80,000 to remove thousands of goitres [lumps in the neck] caused by iodine deficiency. 'It's amazing how much you can help with comparatively small amounts of money.' One section of the film that impressed me, I say, is how he knew right from the outset that if he went to Ethiopia after the success of Band Aid he would face criticism. The term 'white saviour complex' had yet to be coined in early 1985, when Geldof went to the refugee camps in Tigray, but that is what he was accused of having, then and since. He went because Ken Lennox, the veteran tabloid photographer and a neighbour in London, came round and told him he had to go for the famine to stay in the media spotlight. 'This white saviour thing is bollocks,' he says succinctly. 'It comes from all that 1968 Derrida/Foucault language bollocks. It's nonsense. 'I understood the argument. I was a late 20th-century creature of the media. I'm only in Africa because of television and some guy writing in The Times. The media came to me and said, 'When are you going to Africa?' I said, 'What are you talking about?' They said, 'You have to go.' And I said, 'Why?' And they said, 'Because you're the f***ing story'. 'And I said, 'I'm not the story. People are f***ing dying of no food in a world of surplus food, that's the story.' And they said, 'We can't keep doing the starving child, the starving mother, we've done it, Bob.'' So off he went. That was the moment when the course of his last 40 years was set. What Geldof is seeking, he says, is 'a new rhetoric' to get development back up the agenda. 'For years Britain led the way, the gold standard, soft power in excelsis.' He thinks one way to address concerns is to tackle concerns over immigration. 'What people want to do is stop a thousand people arriving each day on the boats. Fair enough. But Africa is the one continent of population growth. Look at Nigeria: about 240 million people now, the UN says it'll be 350 million by 2050. And those people currently aren't able to find work in the countries where they are. They are going to come. 'Nobody really wants to cross mountains and deserts or get in a rubber tube and try and get across the sea. So we shouldn't dodge this issue. We should say if we help build an economy at the very basic level of health, education and agriculture, and then invest in those economies, it will be good for Britain. It sounds pious and lefty, but it's evidence-based.' This is the essence and appeal of Geldof. So often patronised as a 'give us yer fecking money!' (which he didn't actually say) rabble-rouser, he is in fact a deeply realistic, gradualist, coalition-building expert. He finishes by urging me to go and see Just for One Day, the musical based on Live Aid running in the West End. 'It's a laugh, the music is insane, it's a cartoon and the poor f***er who has to play me, he's a Scouser, he's 6ft 4in, but unbelievably his party piece when he was nine years old, his granny used to make him get up on the kitchen table and do Bob Geldof.' And yes, the real thing is anything but inimitable, yet he is a very special man all the Aid at 40: When Rock'n'Roll Took on the World starts on Sunday, July 6 on BBC2 at 9pm Live Aid turns 40: tell us your best story Set the scene, where were you and how old were you? Then tell us what happened. Please share your response with us in a voice message on WhatsApp. You can reach us at +44 (0)7353096428
