Glastonbury Festival clean-up begins as thousands of music fans head home
Cleaners tackled over-flowing bins and big items such as camping chairs and blow-up mattresses, as well as slippers, flip-flops and shopping bags.
Glastonbury will not return in 2026, as the festival enters a fallow year to give the ground time to recover before the next event takes place in 2027.
Organiser Emily Eavis told the on-site newspaper, Glastonbury Free Press, she had a 'huge list of things' to improve the festival ahead of its next iteration.
She said: 'We're always looking to make it better. The detail is critical. Even just a small touch – like putting a new hedge in – can make a real difference.
'And that's what fallow years are for: you lay the ground to rest and you come back stronger.'
This year's edition of the festival saw punk duo Bob Vylan and Irish rap trio Kneecap have both of their sets on Saturday assessed by Avon and Somerset Police to decide whether any offences were committed.
Bobby Vylan, of Bob Vylan, led crowds on the festival's West Holts Stage in chants of 'death, death to the IDF', before a member of Irish rap trio Kneecap suggested fans 'start a riot' outside his bandmate's upcoming court appearance, and led the crowd in chants of 'f*** Keir Starmer'.
Sir Keir had said in the run-up to the festival that he thought Kneecap's set was not 'appropriate' at Glastonbury.
On Friday, festival-goers were treated to surprise performances from alternative pop star Lorde, who played her new album Virgin in full, and Scottish singer Lewis Capaldi, who played two years after a set at the festival during which he struggled to manage his Tourette syndrome symptoms.
The 1975 took to the Pyramid Stage to headline that night, with a set which saw singer Matty Healy joke he was his generation's 'best songwriter', with the band playing songs such as Chocolate, Love Me and About You.
Pulp were revealed to be the act billed as Patchwork, appearing on the Pyramid Stage on Saturday to a backdrop paying homage to their classic 1995 set.
Their appearance came 30 years after their breakthrough headline performance at the festival when they stood in for The Stone Roses after the Manchester band's guitarist John Squire was injured in a cycling accident.
Candida Doyle, the band's keyboard player, had previously appeared to confirm the band would not perform at the festival, despite being keen to play, telling BBC Radio 6 Music last week 'they (Glastonbury) weren't interested'.
Also on Saturday, Haim made a surprise appearance on the Park Stage, opening with one of their best known songs in The Wire, before performing a mix of older songs such as Summer Girl and new singles including Relationships.
The day saw veteran rocker Neil Young headline, performing some of his best known songs including Cinnamon Girl, Like A Hurricane and Rockin' In The Free World, performing at one point with Hank Williams' guitar.
Brat star Charli XCX headlined the Other Stage on Saturday, performing tracks from last year's summer sensation such as 360, Von Dutch and Club Classics.
Sir Rod Stewart took to the Pyramid Stage for the Sunday legends slot, bringing out former Faces bandmate Ronnie Wood for Stay With Me, Lulu for Hot Legs and Simply Red's Mick Hucknall for a performance of his band's If You Don't Know Me By Now.
He was also joined by the festival's founder, Sir Michael Eavis, who was wheeled on to the stage by his daughter, organiser Emily Eavis.
The Pyramid Stage was headlined by pop rocker Olivia Rodrigo on Sunday evening, who brought out The Cure frontman Robert Smith to perform his band's songs Just Like Heaven and Friday I'm In Love.
As the 66-year-old indie-goth star arrived on stage on Sunday night, Rodrigo said: 'Glastonbury would you please welcome Robert Smith, give him a big welcome, come on.'
At the end of Just Like Heaven, the pair hugged, before Rodrigo said 'give it up for Robert Smith you guys' before adding she was 'so honoured to play with him tonight'.
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The National
an hour ago
- The National
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There's much to say about the Serbian fabrics master. In his 60s and 70s heyday, Klein sent multi-coloured tweeds from the Borders to the world's leading fashion houses. The building just saved was Klein's collaboration with the leading modernist architect (and fellow Borderer) Peter Womersley, who also built Klein's family home close by. I want to begin in a visceral way, triggered by the current photos of the 1971 studio in this week's press reports. It's essentially intact as an elegant, angular structure – but how neglected as a sight. READ MORE: Scottish crew 'excluded from Spider Man 4 filming' Water-damaged, graffiti'd, mossy, glass walls shattered … It's as if the modernism of the place itself had been under attack. Of course, the real reasons are prosaic. Built in Klein's first burst of success, the studio (latterly promoting local textiles) declined as the weaving industry did in the Borders. It's laid derelict for the last 20 years. 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Given the next Hue And Cry album is 'electro', in the broadest sense, it felt that a celebration of big, confident engineering was a good backdrop. Yet big, confident engineering often sits at an angle to the hearts and minds of residents and users. The Modernist 'megastructure' (as the architects put it) that made up the bulk of Cumbernauld town centre was guided by cutting-edge theory at the time. Flows made up of humans, shops, transport and meeting places were elaborately modelled; the whole place was designed so that structures could amend and adapt themselves. It had the spirit of utopia about it. But the ambivalence about the current demolitions of Cumbernauld's megastructures is manifest. The 2024 book Concrete Dreams: The Rise And Fall Of Cumbernauld Town Centre talked to many locals. 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The crowdfunder for Bruce Peter's Modernist Scotland is still running at
Scotsman
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We opened in December 2019 as a local Winery and Dinery of Utmost Finery – a bit of a tongue-in-cheek title. The restaurant is really a reflection of me and my family, and a place where we'd want to hang out. We have an interesting and diverse wine list, but with no pretension. You can just tell the team what you like, and we'll take it from there. We pair this atmosphere with just really excellent food – inspired by Scotland's larder, but with a bit of a twist. Considering the date we opened, we had to do a lot of evolving in a very short space of time. Besides the pandemic's Sunday roast deliveries and cocktails out of hatches; we've learned so much about Bruntsfield and our identity. We've grown in our knowledge of cocktails and evolved our menu. Most of all, we're now becoming known for our events – wine and other tastings that we host frequently. Finally, we've just launched our tasting menu, with five-courses that will change seasonally. 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Scottish Sun
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