Who Has Headlined TRNSMT? Here are all 26 acts who have topped the bill at Glasgow Green - from 2017 to 2025
The 2017 Saturday evening headliners were festival favourites Kasabian. Warming up the crowd for them on the Main Stage were the likes of future headliners Catfish & The Bottlemen, George Ezra and future Glastonbury headliner Stormzy. Meanwhile Gerry Cinnamon made his TRNSMT debut third on the bill on the King Tut's Stage. | Getty Images for Live Nation
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The Guardian
25 minutes ago
- The Guardian
‘I have different weathers in my brain': how Celeste rekindled her love of music after heartbreak and loss
On Glastonbury's Pyramid stage in June, Celeste appeared wearing smeared black eye makeup and a leather jacket moulded with the impression of feathers, latched at the throat. She evoked glamour and tragedy, a bird with its wings clipped. 'My first album came out nearly five years ago and I didn't expect it to take so long,' she said of its follow-up. 'But I'm here now.' Celeste broke through in 2020, her voice reminiscent of Billie Holiday's racked beauty, but sparkling with a distinctly British lilt: a controlled, powerful vibrato that stirs the soul. Despite her jazz-leaning balladry not being obvious chart fodder, she became the first British female act in five years to reach No 1 with her debut album, Not Your Muse, which was nominated for the Mercury prize. She also won the BBC's Sound of 2020 poll and the Brit award for rising star and was nominated for an Oscar for best original song (for Hear My Voice from The Trial of the Chicago 7) the year after – but her chance to capitalise on those accolades was stalled by the pandemic. She had to halt her touring ambitions. Of the years since, she says: 'Sometimes you worry: are you on your path?' Celeste was haunting and spectacular when I saw her at Glastonbury, but now, as we stroll through Hyde Park in central London, she is relaxed and laughs easily. She becomes distracted by a carousel ride – 'They're my favourite! I love the music' – then she is back to talking about the five-year struggle to make her excellent second album, Woman of Faces, which will be released in November. 'The title was kind of a diagnosis of how I feel sometimes; a device to help me begin to understand my own complexity,' she says. She was born Celeste Waite in California to a mother from Dagenham, east London, and a Jamaican father. Her mother had found her way to Hollywood as a makeup artist and Celeste was born 'quite quickly' after her parents met there. They separated when Celeste turned one and she and her mother moved to England to live in Celeste's grandparents' home. 'It was almost like my mother was my sister, because we were both being looked after by my nan and grandad.' These are happy memories, but she has 'these different weathers in my brain … I've always had this little tinge of melancholy.' Maybe, she says, it stems in part from a lack of rootedness: 'You move from America to England and you don't really remember it, but you know that there's people that you've known there and built connections with. And then you don't have that.' She wondered if she would end up with a mental health diagnosis, 'something more clinical later on down the line. But I didn't feel I really needed that.' Instead, she found solace in other artists' music, 'people's lyrics and emotions and melodies, even how they dress themselves – that's always been quite a big remedy without needing to have a professional'. While she is frequently compared to Adele and Amy Winehouse, unlike them Celeste did not attend the Brit school of performing arts, instead studying music technology at sixth-form college in Brighton and working in a pub as she got her career off the ground. 'I'm really glad I taught myself to sing,' she says, arguing that it gives her 'rawness and authenticity'. Her venture into music was galvanised by the death of her father from lung cancer when she was 16: 'When you lose someone, every day you wake up and you're stunned by the fact that they're gone. And there's a certain point where you say to yourself: I can't do this any more, and that's when you start to either go to the gym or get into a practice. For me, that was where I picked up music and became really focused.' In the mid-2010s, she started uploading music to YouTube and SoundCloud and got a manager. She was picked up as a guest vocalist for producers such as Avicii, while Lily Allen's label released her debut single. 'I worked double shifts in a pub on weekends to afford to go to the studio,' she says. 'It took my energy away and I wasn't able to sing as well any more.' But she carried on doggedly, got signed to the major label Polydor, bagged the 2020 John Lewis Christmas ad soundtrack and beguiled listeners on songs such as Strange, in which her vocal tone expresses every contradictory emotion in a breakup – resignation, hurt, bafflement, poignancy, even a kind of helpless amusement at how awful it all is – in just four minutes. She is clear that she has received plenty of support and encouragement within Polydor: 'The people that signed me came into music with the intention to make meaningful, poignant, credible music.' But at the commercial end of the industry, there is still 'a huge pressure to make money. If you're not in the top 2% of acts who have such a huge fanbase, you maybe don't get the freedom' to do adventurous work. She says that developing her initial sound caused friction. 'I was hanging around all these jazz musicians like Steam Down and Nubya Garcia, real innovators, and it wasn't easy for me to go into the label and be like: this is what I want to do.' She has managed to preserve a sense of strangeness and singularity. Unlike her earlier peppy soul-pop hit Stop This Flame, familiar to millions as backing music on Sky Sports, most of the songs on Woman of Faces don't even feature percussion – almost unthinkable in 21st-century pop – and there aren't many British singers on major labels doing symphonic jazz. She wanted 'a cinematic feel' and referenced Bernard Herrmann – a composer for films by Hitchcock, Welles and Scorsese – in the studio as she worked with the conductor Robert Ames and the London Contemporary Orchestra. 'Herrmann was a real innovator and it's reflected in people like Busta Rhymes sampling him [on Gimme Some More] all those years later. So we wanted to make sure that if we went into that territory of a cinematic string orchestra, it didn't feel like an impression of the 1950s – it sounded like something new.' With this ambitious scope and Celeste shuttling between sessions in Los Angeles and London, it took a lot longer than expected to complete Woman of Faces. It was originally due to be finished by the end of 2022 and released a year later. 'I didn't expect it to take so long,' she says. 'And if I'm really honest with you, at the end of 2021, into 2022, I experienced some heartache and I fell into such a depression about it all.' A relationship had ended. 'When you lose the person from your life that you really love, there's a grief that comes over you,' she says. The album's first single, On With the Show, was written at her lowest point. 'I didn't really want to go to the studio; I didn't really feel like I actually wanted to live at that point. I didn't find meaning and purpose in the music.' She just had the song title, which she shared with her collaborator Matt Maltese. 'I didn't even have to explain to him what it would be about, because he just knew. We spoke about the song and what it needed to be.' She had also recently seen Marius Petipa's 1898 classical ballet Raymonda. 'It's about a woman in the Crimean war and she has two lovers: one is in Russia and one is in Crimea,' she says. 'I could relate, because she was torn between these two entities: at that point, my dedication to music and my dedication to a person. And one was taking the energy from the other. So On With the Show was about me having to find the courage to let go of something, to meet back in with the path of my life as a singer.' Worse, she says, 'social media had come in to erode my relationship'. As a public figure on social media, 'people can view your relationship and have so much awareness of the fact that you're even in one. There's this really strange, invisible, intangible impression that interactions in that space can leave upon your living reality. I was upset at how much that had come to affect my personal, real life.' On Could Be Machine, a curveball industrial pop song inspired by Lady Gaga, Celeste explores the idea that 'the more time we spend with this technology, the more we become it'. 'My phone had become this antagonist in my life, via communication that I didn't want to receive and the fact it could just be in your hand. It was quite alien, in a way. I hadn't grown up with a phone stuck to my hand and it was something that I had to become more and more 'one' with in my music career.' She says that, during the relationship, love had reverted her to a kind of 'child-like state … a really pure version of yourself, before the world has seeped in and shaped you'. Losing the person who brought her into that state meant that she had to 'learn how to steer and guide' herself to rediscover it. She is leaning on other musicians to help her understand these difficult years. She cites Nina Simone's song Stars, a ballad about the cruelty and melancholy of being a professional musician. 'It says so much about the tragedy of where her life is at that moment in time, but then there's so much triumph in the fact she even gets to express herself in that way.' Another inspiration for Woman of Faces was the 1951 musical romantic comedy An American in Paris and one of its stars, Oscar Levant, who spent time in mental health institutions. 'I was really moved by what he seemed to carry in his being. And, I suppose, I relate a lot to artists who carry this pain, but their work eases it.' Whereas Celeste was previously in thrall to American blues and R&B ('the older sense of what R&B was in the 1940s'), down to the way she might 'time things and phrase things and even pronounce things', she has 'learned what my true voice is and who I really am as a person. I still have some of that phrasing and pronunciation there, but I exist a lot more as myself, therefore I sing a lot more as myself.' Buoyed up by her and others' art, does she feel happy? 'Yes!' She grins and throws her hands in the air. 'The main thing is finding happiness within the relationships I maintain around me and making sure those are kept really positive and nourishing.' She is glad to be in her 30s: 'Age becomes kind of taboo for a woman in the music industry – but then you hear people like Solange speak about women really coming into their true sense of who they are within their work. There's been a shift.' And if the happiness in her career ever dissipates, she has decided she will simply move on. 'I don't really see the need to live in a feeling of oppression, when I know there's so much freedom outside this world. And anyway, I'm sure I would find my way back to it again. But on my own terms.' Women of Faces is released on 14 November on Polydor In the UK and Ireland, Samaritans can be contacted on freephone 116 123, or email jo@ or jo@ In the US, you can call or text the National Suicide Prevention Lifeline on 988, chat on or text HOME to 741741 to connect with a crisis counselor. In Australia, the crisis support service Lifeline is 13 11 14. Other international helplines can be found at
Scottish Sun
19 hours ago
- Scottish Sun
Foo Fighters announce new drummer after bitter split from Taylor Hawkins' replacement – and he's familiar face to fans
The band was formed in 1994 by front man Dave Grohl DRUMMER DRAMA Foo Fighters announce new drummer after bitter split from Taylor Hawkins' replacement – and he's familiar face to fans Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) THE Foo Fighters have had more members than the Sugababes at this point and now the newest person joining the rock band has been unveiled. The iconic group, which released a new song last month, have found the perfect replacement and it's somebody fans will already recognise – it's none other than Nine Inch Nails drummer Ilan Rubin. 4 Foo Fighters have revealed their newest drummer Credit: Getty 4 Nine Inch Nails drummer Ilan Rubin is joining the iconic rock band Credit: Getty 4 Josh Freese was axed from the band in May this year Credit: Getty Ilan, 37, has had tremendous success as Nine Inch Nails' touring drummer since 2009 and was inducted into the Rock & Roll Hall of Fame in 2020, making him the youngest-ever entrant at the time at 32 years old. Rock fans will also know Ilan as he's been the drummer for Angels & Airwaves since 2005. The exciting development comes after previous drummer Josh Freese was axed from the group back in May after two years. He joined the band in 2023 following the tragic death of Taylor Hawkins, who died suddenly while on tour in Colombia in March 2022. The group had reportedly called Josh at the time to tell him they were 'going in a different direction' with no further explanation given. Josh, 52, shared a picture of his statement revealing his departure from the legendary group, captioning it simply on Instagram: 'Well, there it is.' In the emotional post, he wrote: 'The Foo Fighters called me Monday night to let me know they've decided 'to go in a different direction with their drummer.' No reason was given. :( 'Regardless, I enjoyed the past two years with them, both on and off stage, and I support whatever they feel is best for the band. 'In my 40 years of drumming professionally, I've never been let go from a band, so while I'm not angry - just a bit shocked and disappointed. 'But as most of you know, I've always worked freelance and bounced between bands, so, I'm fine. Foo Fighters make surprise Glastonbury performance as The Churn Ups 'Stay tuned for my 'Top 10 possible reasons Josh got booted from the Foo Fighters' list.' According to The Hollywood Reporter, while Ilan has joined the Foo Fighters, Josh is returning to Nine Inch Nails. The news has been confirmed with the band sharing a story of Josh and tagging him with a caption that reads: 'Let's f*****g go.' It's still unclear whether Ilan is joining Foo Fighters as a full-time member or as a touring drummer. As die-hard Foo Fighters fans are aware, the band is fronted by Dave Grohl as vocalist and guitarist and also features bassist Nate Mendel, guitarists Pat Smear and Chris Shiflett and keyboardist Rami Jaffee. The band was formed in 1994 after Grohl created Foo Fighters to release solo music after Nirvana broke up the same year. During their three decade-long career, the group has released eleven studio albums, four compilation albums, one live album, four extended plays and ten Foo Files EPs.
Daily Mirror
a day ago
- Daily Mirror
Massive Attack, Kneecap and more fight back on 'organised censorship' from music industry
Massive Attack, Kneecap, Fontaines D.C. and Brian Eno have formed an alliance to protect artists openly supportive of Palestine from censorship and intimidation from the music industry The British band Massive Attack have formed an alliance for artists who are facing intimidation from within the music industry over their support of Palestine and Gaza. The collective known as Ethical Syndicate Palestine (ESP) is supported by Kneecap, Fontaines D.C. and Brian Eno and cites 'organised censorship' of artists who have spoken out about Israel 's military action. The statement shared by Massive Attack and others on Instagram reads: 'The scenes in Gaza have moved beyond description. We write as artists who've chosen to use our public platforms to speak out against the genocide occurring there and the role of the UK government in facilitating it.' In their statement, ESP alleges accounts of organised intimidation: 'We're aware of the scale of aggressive, vexatious campaigns operated by [UK Lawyers for Israel] UKLFI and of multiple individual incidences of intimidation within the music industry itself, designed solely to censor and silence artists from speaking their hearts and minds.' In a statement to The Mirror, Caroline Turner, Director of UKLFI, wrote: "The claims that we have bullied Massive Attack and operated aggressive vexations campaigns are false." She further describes Massive Attack's June 2025 performance at Lido Festival as "divisive and offensive political theatre." READ MORE: Massive Attack slam 'unethical' Barclays and demand removal of adverts at venue before gig ESP singled out UKLFI in their statement, accusing the association of intimidating artists. In their ESP Instagram posts, Brian Eno, Kneecap and Massive Attack all tagged the activist group Led By Donkeys, which released a film on July 17, 2025 calling for an investigation into UKLFI's charitable wing. Turner says UKLFI responded to Led by Donkeys before they screened their film and contends that their allegations mainly concerned UKLFI Ltd, which is not a charity, rather than UKLFI Charitable Trust. In recent months, UKLFI reported the band Bob Vylan to the police for leading a chant of 'death to the IDF [Israel Defence Forces]' during their Glastonbury set. It also reported the BBC for broadcasting the set and wrote to the Academy of Music Group advising them to cancel Vylan's Radar Festival performance. Mr Liam Óg Ó hAnnaidh (aka Mo Chara), a member of the music trio Kneecap, was charged with a terrorism offence in May 2025 after being reported to the police by UKLFI. Mr Ó hAnnaidh will appear at court for the next hearing on August 20, 2025. UKLFI wrote to all the UK venues where Kneecap was due to perform over the summer, to warn them of the risks of allowing them to perform. The musicians of ESP say their goal is to protect other artists, particularly those at early stages of their careers. 'Having withstood these campaigns of attempted censorship, we won't standby & allow other artists – particularly those at earlier stages of their careers or in other positions of professional vulnerability – to be threatened into silence or career cancellation. 'In this spirit, we encourage artists who've been placed in this position, or those who now wish to use their platforms to talk about Palestine, but are concerted about industrial or legal repercussions to contact us,' their statement reads. The syndicate also urges artists to make a stand on demands including immediate unfettered access to Gaza for recognised aid agencies, an end to UK arms sales and licences to Israel, and an immediate and permanent ceasefire. Artists including Paloma Faith, Bob Vylan, Aja Monet, Saul Williams, and AURORA all commented expressions of support on Instagram. Paloma Faith wrote: 'I've been shadow banned for some time!!! Keep going everyone, it's going to eventually change! Hang in there'. The Scottish rock band Garbage have also publicly joined the syndicate. The Mirror has reached out to the Ethical Syndicate Palestine for comment. Help us improve our content by completing the survey below. We'd love to hear from you!
