Beckham goes boujee! Youngest son Cruz, 20, and girlfriend Jackie Apostel, 30, share glimpse of their VERY lavish Glastonbury experience staying in luxury campsite with jacuzzi, 24/7 staff, IV drips and breakfast in bed
The youngest son of David and Victoria, 20, and his girlfriend Jackie Apostel, 30, spent the festival at Camp Kerala, where a five-night stay begins at an eye-watering £8,225 per-person, with The Telegraph reporting it can go up to £24,000.
The couple wasted no time in taking to their Instagrams on Monday to share a look at the luxury campsite - where each tent comes equipped with sheepskin rugs, heating, electricity and fresh flowers, in a far cry from the regular festival-goer's experience.
Cruz posted snaps of him and Jackie lounging on their king-sized bed with Egyptian cotton sheets, as he serenaded her on his guitar.
While she revealed more glimpses inside their spacious star-patterned tent, flaunting her toned figure as she posed up a storm in the full-length mirror in the vanity area.
The singer also put on a leggy display in another mirror selfie taken in what appeared to be taken from inside the site's pamper room, salon, or beauty room.
Both Cruz and Jackie shared a shot of their car arriving to the campsite as part of the chauffeur service that transports guests directly to the festival, with Jackie snapping a pouting selfie from the backseat.
While Cruz could also be seen indulging in the accommodation's breakfast in bed perk, tucking into a full English breakfast.
He also took to his Stories to share a snap of him enjoying the jacuzzi at the campsite - which also has a sauna, plunge baths and hot tubs.
And as if they hadn't inspired enough jealousy from fans, Jackie also shared a snap of her and Cruz cuddling with adorable puppy during what appeared to be a puppy therapy event onsite.
Captioning his post, Cruz said: 'Glastonbury wouldn't have been so good without @campkerala', while Jackie simply wrote: 'A VERY WHOLESOME GLASTO'.
Camp Kerala describes itself as a 'sanctuary' that offers 'a restful retreat that allows you to unwind amidst any festival's vibrant energy.'
Included in its hefty price tag is access to the spa, cocoon, energy area, bakery and coffee area, cocktail and Champagne bars, All Saints shop and two restaurants.
While guests can also enjoy daily IV drips, hair braiding, their own live music shows, a fully-stocked fancy dress cupboard, views of the festival and 24/7 staff service to tend to their every need.
Cruz and Jackie's followers were divided over the their display of wealth, with many rushing to the comments to reveal their envy, writing: 'Now that's how you do it!!'; 'Camping goals'; 'It's great if you can afford it'.
However, others criticised the ostentation, claiming it was far removed from what Glastonbury was all about and what made it so enjoyable.
They wrote: 'Hardly the Glastonbury experience; 'I feel like a proper bed in a tent, is missing the real experience!; 'Missing True Spirit'.
It comes after Cruz seemed to issue yet another swipe at his elder brother Brooklyn amid the family's bitter fallout, as he hit back at trolls on social media.
Last week, he took to TikTok a to upload a video of himself playing the guitar, which soon attracted several negative comments.
One said: 'Are you going to stick with this job or going to become a race car driver next or something?'
However, Cruz, seemingly throwing shade at his brother Brooklyn's many career paths, was quick to respond: 'Wrong brother mate'.
Over the years, Brooklyn has tried his hand at several different careers from modelling, to photography to becoming a chef and most recently training as a Formula E driver.
Cruz and Jackie's followers were divided over the their display of wealth, with many rushing to the comments to reveal their envy, writing: 'Now that's how you do it!!'; 'Camping goals'
However, others criticised the ostentation, claiming it was far removed from what Glastonbury was all about and what made it so enjoyable
Another commented: 'definitely got his talent from his mam..I'd try football like ya dad', to which Cruz brutally hit back: 'Julie mate have u seen what u look like, maybe sort it out'.
In a final blow, one follower penned: 'He has the talent of an average teenage boy that just recently started learning guitar', to which he shot back: 'It's easy to comment on TikTok isn't it u think I care what you think darling x'
Cruz's sassy comments came shortly after he took to Instagram to show his support for his parents David and Victoria, who are in the midst of an escalating rift with Brooklyn, 26, and his actress wife, Nicola.
The budding musician shared pointed lyrics from a 1969 song by The Beatles with the tentative title of The End to his Stories on Saturday, captioned: 'The truth will unfold'.
The lyrics read: 'Love you, I love you / Love you, I love you / Love you, I love you / Love you, I love you / And in the end / The love you take / Is equal to the love you make' .
Last month, Cruz used music again to weigh into he feud as he reflected on one of his mother Victoria's 2001 songs with rather poignant lyrics.
In what could be interpreted as a coded message to Brooklyn he took to Instagram Stories to urge his army of followers to listen to Posh's early noughties song Every Part Of Me.
The lyrics to the song - a track from Victoria's self-titled debut album - include declarations of love in the wake of adversity and state 'I promise I'll be here if someone ever breaks your heart'.
Last week, he took to TikTok a to upload a video of himself playing the guitar, which soon attracted several negative comments
Over the years, Brooklyn has tried his hand at several different careers from modelling, to photography to becoming a chef and most recently training as a Formula E driver
The budding musician shared pointed lyrics from a 1969 song by The Beatles with the tentative title of The End to his Stories on Saturday, captioned: 'The truth will unfold'
Victoria sings about how 'people always run their mouth' but 'there's no doubt my love for you is true' and 'when I look at you I see me from my head to your toes every part of me'.
The former Spice Girls singer turned fashion designer, 51, declares 'I'll always be a part of you' and states 'when I look at you I see me from my heart to your soul I'll always love you so'.
With the lyrics taking on a whole new meaning in light of the 'devastating' feud rippling through the Beckham family, Victoria sings 'I've seen how easy things can change. And people never stay the same...
'I think you should know that people gonna come and go. Be assured of this one thing, I will still remain.
'I know that there will come a day when you have to go away. But you have no reason to fear, I promise I'll be here if someone ever breaks your heart.
'And you feel your world is torn apart. My love for you will bring you through hard times. I'll help you be strong.'
The song somewhat heartbreakingly concludes: 'I'll always love you so... You'll always be my baby.'
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30 minutes ago
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What is the greatest guitar riff of all time? We asked readers
Wow. It turns out Telegraph readers really like guitar music – and have very strong opinions about it. I'm not going to say that's a complete surprise – in writing a piece about the 30 greatest guitar riffs of all time, I knew I was stepping onto hallowed ground and expecting to get a fair bit of blasting in the comments. But having spent so long working out the list, I found it an absolute joy to read through everyone's thoughts on the subject: people have a very strong sense of what makes a great guitar riff. Some were categorical: Tim Dowting's 'I sat bolt upright in bed this morning... This list has nothing on it by KNOPFLER !!!!!' echoed a lot of people's feelings. And Jill Garner's 'I'm absolutely not having any list that does not include She Sells Sanctuary, The Cult' made her thoughts clear. I liked the pizzazz of Jenni Williams's instant rewrite: 'Actually it's Edge of Seventeen by Steve Nicks.' So that's decided. Some were adamant that some of my choices were not strictly riffs at all. Tar Paulin – who I confess I thought at first glance might be a cousin of the poet Tom Paulin – spent some time not only correcting my assumptions but those of the many readers who wanted The Eagles' Hotel California and The Carpenters' Goodbye to Love on the list. And Tar was by no means alone. There was a lot of discussion about Bohemian Rhapsody being so high on the list when, as many pointed out, it's more solo than riff; 'Back to rock school you go', admonished riina fraser. (Although riina did suggest We Will Rock You as an alternative, and that's definitely a solo, so it looks like we're going to rock school together.) I hold my hand up on that one. I wanted an example of a riff that takes ages to arrive in a classic song – and I so nearly chose The Who's Won't Get Fooled Again at that point. Lots of readers would have been happy with that. In fact, I made a playlist that runs to 350-plus songs from the suggestions in the comments (quite a few of which I had never heard before), which I will be blasting out on my next journey up the A1. But there were definitely some that were mentioned over and over again, so I've compiled an alternative readers' top 30 (plus a corresponding playlist with a bonus five) – which I think everyone should agree is much better than my list. Muse fans will be happier. And the many, many readers who championed Dire Straits' Mark Knopfler and demanded Gimme Shelter instead of Satisfaction can rest easy. There were also lots and lots of alternatives to my AC/DC and Zeppelin choices, so I've put one of each in. Oh, and there's a Beatles riff, too. PS. If we put The Chain in here, what are we going to do when one of us does the 50 greatest guitar solos? Happy listening! Roxette – Doctor Feelgood (1975) Lots of people demanded recognition for the late Wilko Johnson (real name John Wilkinson) of the 1970s Canvey Island rockers. Frank Chambers would have had the riff for Back in the Night but Don Genaro, Naomi West and John Lewis all wanted this one – with its distinctive choppy rhythm and drive that makes it 'Mr Wilkinson's finest', according to the latter. Aqualung – Jethro Tull (1971) There was plenty of acclaim for the folk rock guitarist Martin Barre, and a slight difference of opinion about whether we should recognise Locomotive Breath or the title track from the band's classic 1971 album. 'Brilliant and creepy', said Solomon Jeffries, of the latter. It just had to be this one, for its lasting influence. Mark Knopfler called Barre's guitar playing 'magical'; even Pistol John Lydon loved Aqualung, although its lyrics, as reader Gerald Bostock hinted, might cause a stir today. Sweet Child O' Mine – Guns N' Roses (1988) 'Where is Slash's opening and ending blasting riff on Guns N' Roses' Sweet Child O' Mine?' choked one reader, who styled himself or herself 'The truth will set you free', and the truth is, they weren't alone. Richard Elliott thought it 'must deserve a place in the Top 30'; Jamie Watts wanted it, too, while others, such as Amanda Hunt, were simply insistent that the band's lead guitarist Slash should be there, if not for this sustained arpeggio then something else. So here it is. Breadfan – Budgie (1973) Plenty of support for this meisterwerk from the Cardiff hard-rock outfit, recorded in short order live in the studio for their 1973 album Never Turn Your Back on a Friend. It's not as well-known as some of the riffs here, but the striking thing about this aggressive, galloping riff is how clearly it points the way to where metal was headed, as confirmed by Metallica's cover of it in 1988. Many readers tipped a hat to guitarist Tony Bourge, and some were unequivocal about this riff. 'Breadfan should definitely be in there', wrote Paul Dover. All Right Now – Free (1970) 'Where is Alright Now, by Free?' said Oscar Foxtrot. 'Agreed … has to be there', added Doug Black, although Mark Rebeiro added a counterpoint: 'Wishing Well better for me.' I'm with Doug, but the consensus was that this essential rock riff, with its bludgeoning stop-start force, deserved a place. As Luke Warm put it, of the guitarist who died from a pulmonary embolism at just 25, in 1976, 'You forgot the late great Paul Kossoff of Free, Alright now, bangs forever.' Bo Diddley – Bo Diddley (1955) The amazing thing about this tremolo-inflected strummer, recorded in 1955 and dubbed 'the Bo Diddley' beat, is how little it has dated, especially when you compare it to some iconic rock 'n' roll riffs, such as Johnny B Goode. It's certainly no museum piece, and the route by which it influenced Johnny Marr's How Soon Is Now (via Bohannon's Disco Stomp) proves it. Quite a few readers noted its absence from the original list. 'Where is Bo Diddley?' was a common refrain. The Trooper – Iron Maiden (1983) This duelling gallop, driven by the twin guitars of Maiden's Dave Murray and Adrian Smith (and Steve Harris's bass), was a must-have for some readers, including Paul Aston, Jake Brooks and Vasilis Kapsalis, who introduced its lack with the incredulous 'Iron Maiden?' It landed here as the second single from the band's fourth album, Piece of Mind from 1983. Walk This Way – Aerosmith (1975) A notable omission for many, including Ian Cowie, who offered it up, along with several others, based on 'nearly 50 years of playing guitar in rock bands', and the criterion: 'If audience reaction is any reliable measurement…' Known across the musical spectrum after its use on Run-DMC's 1986 chart hit, a full decade after it was originally released. Joe Perry is the man making his guitar walk in a funk-rock riff for the ages. Hocus Pocus – Focus (1970) Jill Bryant put it like this: 'Hocus Pocus, simple but as soon you hear it you know it!' And even Tar Paulin wanted this one, as did David Adams. It's Dutch prog rock, but it's fantastic – well, until you get to the yodelling (sorry, but rules is rules). Guitarist Jan Akkerman gives the guitar sound an amazing sheet-metal sheen. Weird and wonderful. Smokestack Lightning – Howlin' Wolf (1956) Jan Knight and Jon McC were in total agreement about this one. 'The DNA riff. All others are derivations or variations on this one', wrote Jan. 'Hubert Sumlin. Top 5,' replied Jon, name-checking the guitarist. Atmosphere; tension; that repeated note sequence that sets a menacing sound stage for the blues great to bellow 'I am Smokestack Lightnin'.' It's a classic for a reason. Alternative Ulster – Stiff Little Fingers (1979) There's a Classic Rock FM feel to this list, and the reader who directed me to listen to the American band Montrose's 1973 banger Space Station #5 – which achieves blast off with Ronnie Montrose's dynamite riff – may feel a little aggrieved by its similarities to the riff from this 1979 punk belter. But more than one reader wanted it, and it still delivers a blazing energy to this brilliant song that reared up out of Troubles-era Belfast. Jake Burns provides the riff and the raw emotion with 'the Army on the street / And the RUC dog of repression/ Is barking at your feet'. Gimme Shelter – The Rolling Stones (1969) Not everyone was happy with the riff to Satisfaction being number one on the original list – some were – but it seemed foundational to me. Stones fans like Desperate Dog kept coming back to this one, barking 'The Stones, 'Gimme Shelter'!!!!', or 'best opening riff of any song' (Steve Freestone), or 'Keith Richards' finest piece' (Milicent Bystander) or 'The best ever' (John Dennison). I could go on, and there were plenty other Stones riffs put forward, but John Godrich 'Gimme Shelter instead of Satisfaction…' summed up a lot of people's thoughts on the matter. So here it is. It's one of the most expressive in rock – urgent, haunting, filled with fear and violence – and it was written by Richards during a storm. That storm continues to rage to this day. Marquee Moon – Television (1977) So … I had been intending to follow a trend elsewhere in this list of providing an alternative riff from a guitarist already in the original Top 30 – and heaven knows, there were Clapton and Hendrix fans who demanded a lot more than one entry. This was going to be Clapton's immortal rendition of the riff that bassist Jack Bruce wrote for Sunshine of Your Love by Cream. But one of the most noticeable things about Telegraph readers' comments taken as a whole was that not everyone likes the same things – and that the majority view can become incredibly dominant. The responses were similar: Adam Rowland's 'Guitar riffs? No Television?', for instance, but there were people advocating for Bloc Party's Helicopter or Banquet, like Alex Wood, as much as there were those who wanted Wishbone Ash, Santana or Joe Walsh. We haven't got room for everything, but I've put this one in, as requested by at least one reader. Pretty Vacant – Sex Pistols (1976) Bassist Glen Matlock wrote the distorting dystopian riff of this classic early Pistols' song. In his memoir, guitarist Steve Jones was happy to credit Matlock for many of the songs but said that the music became more 'brutally direct' after he 'drove a bulldozer' through Matlock's complex chord structures. Whichever, this is an iconic riff, as demanded by Brendan Kelleher, Susan McAndrew and lots of other readers. Peter Zelenyj noted the debt that it owes to the bassline that Matlock loved in Abba's SOS, which the former punk wrote about in his own memoir, Triggers. It probably should have been on the original list… Kashmir – Led Zeppelin (1975) Zep guitarist Jimmy Page was getting a whole lotta love from Telegraph readers. 'Pagey should be number one', said Jim Steele authoritatively, but Stan Hunt wasn't having the choice in the list, however high it was already. 'Probably 10 Zeppelin riffs better than no 2' he essayed, and there were plenty making claims for their personal favourites. Jim Bergerac listed several then decided. 'Bang. There's your 30 greatest riffs, all from the same flippin guitar!! I mean, folks, just forget it. Page is the only one true God.' Christine Asher, though, settled on Kashmir, as did Poppy Dee, David Sherrington, Thomas Rankin and more. She Sells Sanctuary – The Cult (1985) Jill Garner wasn't the only reader demanding recognition for Bradford's finest, and there was an interesting leaning here, that you may notice. Jenni Williams wanted The Cult's Rain in there, Tracy Gooding wanted 'The Cult: She Sells Sanctuary' and Victoria Andrews even bucked the trend for throwing brickbats at the list's author. 'Great choices. I would want to add the riff from She Sells Sanctuary.' Billy Duffy's soaring riff has lost none of its charge in the 40 years since it was recorded. Thunderstruck – AC/DC (1990) 'No mention of AC/DC Thunderstruck, and yet the audacity to include the dross that are the Bee Gees and Sister Sledge', railed reader Mark Norrie. Yep, at times in the comments, it felt like being back in Lincoln as a post-punk teen growing up in a city where heavy rock was the religion and 'grebo' pubs were legion. The main gripe here seemed to be that choosing Back in Black did not do true justice to the riff-making magnificence of guitarist Angus Young, and plainly indicated a lack of deep knowledge about the band. Other candidates were put forward, but this one, with its delirious adrenalised opening, had many advocates. Limelight – Rush (1981) This has to stand for the many guitarists that people wanted to see honoured – 'Nothing from Michael Schenker during his golden era with UFO?', for instance. But there were too many calls for Rush to be on this list for the band to be ignored. 'No Alex Lifeson of Rush?' was a question posed by David Rodney with the hearty approval of Joe The-Pom. As for many gifted guitarists, different riffs were proposed, but this one, with its melodic power and elegance, had enough momentum to swing it. Money For Nothing – Dire Straits (1985) If there was one name that came up more than any other it was Dire Straits' lead guitarist. Michael Smith's 'Nothing from Knopfler … Please!' and M Joyce's 'No Mark Knopfler…can't therefore take this seriously' were pretty typical. For one godawful riff and a shedload of noodling – what is wrong with you people!? I'm joking. I've always had a major soft spot for Sultans of Swing, but you know, I left out Thurston Moore, John McGeoch and Maurice Deebank, too. Anyway, normal service is resumed; Knopfler is restored to his rightful place with this iconic power-chord blast. 'Money for nothing has one of the best guitar riffs of all time. So where is it?' demanded Jonathan Collis. It's here. Money – Pink Floyd (1973) Baggie Baggins called it a 'glaring omission'. Winter Knight thought so too. But generally there was just a huge clamour for Floyd and David Gilmour to be on the list. 'What no Pink Floyd???' tripled Jim Jackson. 'A lot of the very best are missing, where are Pink Floyd, The Shadows, Mark Knopfler and a lot more that I can't remember?' wrote Allan Pape, excoriatingly. This understated Gilmour riff, with its unusual time signature, has found a place for itself, even though some will feel other Floyd riffs with competing claims should have been here. Jailbreak – Thin Lizzy (1976) Phil Lynott and co are busting out of prison and into this list by popular demand. More than a few wanted Whiskey in the Jar. Julian Healy wanted Cowboy Song as representative of 'a band at the height of their powers'. But this thundering dual lead riff, by Scott Gorham and Brian Robertson, still sounds coiled, edgy and dangerous. You wouldn't want to meet this riff on a dark night. Rebel Rebel – David Bowie (1974) There was clamour for a different Bowie riff to the one I'd chosen. Harry Bloke wanted Andy Warhol, Richard Mathams thought 'Suffragette City should be there' but Rebel Rebel got almost as many shouts as Mark Knopfler. Ian McKenna was scathing: 'Incredibly flawed list how can Ziggy Stardust be put above Jean Genie or Rebel Rebel?' (He had a point about Mott the Hoople's Mick Ralph writing the riff for All the Young Dudes, though. All errors in the original copy my own.) Confess I wanted a riff played by Mick Ronson, but this brilliant mix of picked-out notes and power chords is Bowie himself with session guitarist Alan Parker. Sweet Home Alabama – Lynyrd Skynyrd (1974) Lots of people wanted this Southern-fried classic, including Mary Robinson, Ray Price, Barry Richards, Jan Hoskings, Joe Moran and Brendan Harris. Jack Blakemore thought its absence made the writer 'a total noob'. It's a rarity in both lists by having three guitars combining to give it its chugging bluesy feel. Ed King plays that lovely clean Stratocaster hook, Gary Rossington gives it shuffle and rhythm, Allen Collins adds the special sauce. Won't Get Fooled Again – The Who (1971) Pete Townshend was another absence that made readers furious. 'Not a single one from the Who or Dire Straits? Broaden your horizons,' fulminated Mark Graham. 'Erm The Who!?!?' coughed Jimmy BB. 'Pete Townshed surely the greatest rhythm guitarist in rock,' thought Stephen Phillips. But which Who riff? Alan James wanted Won't Get Fooled Again, Joshua Tamworth Baba O'Riley, Peter Guy liked Can't Explain. We had to narrow it down one, though. (The Seeker was very nearly on the original list, by the way.) Plug in Baby – Muse (2001) I knew there was going to be an issue with Muse fans even before the list was published when I casually mentioned to a fellow journalist what I'd been writing. 'Hope lots of Muse' he replied. 'Pound for pound the best riffers.' And soon, he wasn't the only one lamenting the lack of anything Matt Bellamy in the Top 30. 'Muse is a major omission', denounced Andrew Page. Roger Inkpen was more specific. 'Of course Map of the Problematique by Muse. Danny Boyle used it for the opening of the London Olympics. Fantastic!' But rather like the journalist I spoke to, Muse fans couldn't actually agree on what riff should be in the list, although they did keep firing off song titles. This one just edged the popular vote. Caroline – Status Quo (1973) This was perhaps the most unexpected current among the readers. Status Quo may have lost rhythm guitarist Rick Parfitt and bassist Alan Lancaster (plus classic era drummer John Coghlan, who stepped away in 1981) but they are far from forgotten by Telegraph readers. John Watson wanted something from their early stuff; Richard Andrews and Robert Parker were mystified at the lack of Quo full stop. 'How can they miss out the mighty Quo…' was Philip Tidmarsh's stirring wail. Mystery Song, Down the Dustpipe, Paper Plane, Backwater, Over and Done, Down Down, Roll Over Lay Down and Blue Eyed Lady were all considered to knock 'the rest of the list into a cocked hat'. Donald Troosers said it best about Francis Rossi's riff on this classic 1973 single: 'Caroline… three chords is all they need.' Ain't Talkin' 'Bout Love – Van Halen (1978) The exclamation mark said it all in Stephen Walker's comment: 'No Van Halen? Ain't Talking About Love!' And he wasn't alone. 'Jeez – no Van Halen. Whaaat?' said Neil Findley. Melanie Tolchard agreed, as did Jason Bourne with a head-shaking, 'Yep can't believe no Van Halen'. He wanted Running with the Devil, as did Jeremiah Jasper-Porkington III. Rolango Sportster wanted Unchained. Dave Butter considered Eddie's absence evidence of 'dreadful choices' overall. The hard rock crowd were out in force. This burnt offering from the guitar virtuoso is dripping with razor-sharp attitude and aggression. Taxman – The Beatles (1966) The absence of a Beatles riff went down predictably well – Jeff Haycock was incensed – but readers were hustling for a variety of candidates to be on the list to make up for it. Robert Dodds would've included Day Tripper, as would Maurice Gale. Lenny Thelion would have been happy with 'Paperback Writer? Taxman? Ticket To Ride?' – 'I guess The Beatles aren't cool enough for the DT,' he decided. Rex Stormont and David Aird seconded (and thirded) McCartney's riff for Paperback Writer. But there were just as many for George Harrison's stark, fuzz-toned riff on Taxman, alongside McCartney's fabulous bassline, so we've gone for that. Reelin' in the Years – Steely Dan (1972) Steely Dan cropped up again and again, spoken of with a reverence that acknowledged the sophistication and virtuosity of the band's oeuvre. 'How could you even think of excluding Reelin' in the Years (Steely Dan, solo Elliott Randall) or Kid Charlemagne (Steely Dan, solo Larry Carlton)?' asked Man Jacovus. Randall played the opening riff, too, on the former, even though the tape engineer failed to press record on his flawless first take. Jimmy Page rates the solo at 12 out of 10, but we're not here to talk about solos! What a lovely thing this is. Enter Sandman – Metallica (1991) Metallica fans were not best pleased that there wasn't a single entry from the American heavy-metal monsters on the list and Andrew Moyes went further: 'Enter Sandman' by Mettalica has to be No:1 !!!'. Pearce Coles called the riff 'unforgettable'. It was written by lead guitarist Kirk Hammett; the distinctive arpeggio in the intro was played by James Hetfield, who also provided the frightening wall of sound that follows (composed of three overdubbed rhythm tracks). Dark, threatening and very, very heavy. Plus: Five bonus tracks
Telegraph
30 minutes ago
- Telegraph
British air traffic is run like a water company. That's why it failed
On Wednesday at around 2:30pm, systems went down at the Swanwick air traffic control centre responsible for all 'en route' upper-level control over England and Wales. Controllers were unable to see and direct aircraft above what we call 'flight level 245' – this is a nominal altitude of 24,500 feet with the altimeter set to 1,013 millibars regardless of what the atmospheric pressure may actually be. Flight levels are intended for keeping planes separated from each other, not for describing how high one actually is above the ground. This failure meant that no planes could be accepted into southern UK airspace for around an hour, until a backup system was brought on line. Flights headed for UK airspace could not even take off in many cases. It was a very bad day for this to happen, at almost the very peak of summer airline activity with almost every jet in service working as hard as possible to get people to their holidays and bring them back. The ripple effect means that cancellations and problems will continue into the weekend. Stranded passengers will, in most cases, blame their airlines – the companies they had a deal with. And if they think they can get better service from another airline, they may take their business elsewhere. The airline business is intensely competitive, which keeps the companies investing in their services and doing their best to win customers. Unfortunately for the airlines, however, the provision of air traffic control – particularly en-route control – is a natural monopoly. Just as it makes very little sense to have multiple sets of water pipes running to a house so that water companies could compete for the householder's business, it would make very little sense to have multiple air-traffic control organisations competing for the job of handling the airlines' traffic. In a situation not unlike the railways, air traffic control at any given airport may be contracted to a different provider once a contract term is up, but 'en route' control above FL245 is a monopoly held by a public-private partnership called NATS Holdings (National Air Traffic Services). Rather as is the case with water companies, NATS has no competition: its customers have to use it. Again as with water companies, the prices it can charge are set by the regulator, in this case the Civil Aviation Authority. But, again like a water company, it has private investors to answer to and they expect to receive as much revenue as possible. There is no incentive to invest in providing the best possible service as there is no competition. This is demonstrably not a good or effective way to run vital pieces of national infrastructure. We all know about the hosepipe bans, water outages and sewage spills that have resulted at the water companies. NATS, too, does not provide a reliable service. Quite apart from this week's problems, there were major outages in 2014 and 2023 leading to widespread disruption and misery. When I was flying fast jets for the RAF, we practised for emergencies and problems constantly. The culture was much the same once I moved to British Airways, which is still for my money one of the best airlines in the world. As an airline pilot I spent hundreds of hours in the simulator making sure that if disaster struck my response – or the response of my colleagues – would be instant. The controllers and engineers at NATS should have the same ethos: they too have lives in their hands. The backup system that came into play after an hour this week should have been constantly up and running, and in play within seconds. The handover procedure – and procedures for dealing with other kinds of emergency – should be regularly practised. There should be multiple backups for every system. And there is blame to go round beyond NATS on this. In a regulated monopoly market, the regulator who sets the prices and supervises the provider has to be regarded as every bit as responsible for any disaster as the provider itself. All eyes are now, rightly, on the CEO of NATS Holdings. But the Civil Aviation Authority should be subject to just as much scrutiny. I'm not pretending the solution here is simple. Making sure that a natural monopoly runs itself in the best interest of the customers isn't simple in any industry. But we really must do better than this.
