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The Guardian
2 hours ago
- Entertainment
- The Guardian
The 1975 at Glastonbury review – amid the irony, ego and pints of Guinness, this is a world-class band
The 1975's first Glastonbury headlining slot arrives preceded by some intriguing rumours about what's going to happen. Some fairly eye-popping figures are being bandied about regarding the cost of their set's staging – which allegedly vastly outweighs the fee the band are being paid – while one dubious online source insists Healy has shaved his head for the occasion. He hasn't (he appears onstage tonsorially intact), but clearly large sums of money have been spent somewhere along the way. What ensues isn't quite as complex as their last tour, which featured lead singer Matty Healy eating raw steak, doing push ups, climbing through a television and Prince Andrew's face appearing on a bank of television screens accompanied by the strains of Mahler's 5th Symphony. Nevertheless, there are huge video screens everywhere: not just behind the band, but above them and at either side of the stage, and indeed below the actual video screens that Glastonbury traditionally provides. The treadmill that ran across the front of the stage during their 2018 tour – there for Healy to glide around on, something he does with admirable insouciance – makes a reappearance, while, for reasons that aren't entirely clear, the rear half of a car makes an appearance stage right at one point. Healy sings from within it. The screens alternately bathe the stage in white or pink light, show Adam Curtis-esque montages of news footage, flash up lyrics as Healy sings them – a good idea in the case of Part of the Band, a song packed with authentically funny lines. But this being the 1975, never a band to miss the opportunity to make a meta point about being in a band, they also flash up critiques of Healy's lyrics – 'MINDLESS HOLLERING' – and more generally, of the 1975 themselves: 'They're essentially making robotic Huey Lewis tunes' is a particularly cutting judgement on the band's signature synth-heavy, pastel-hued 80s pop-rock-influenced sound. Later, the screens render their lyrics as meaningless gibberish by displaying what it sounds like he's singing – 'oh mah hez smell like chocolate'. And this is done immediately after Healy informs the audience that he's 'the greatest songwriter of my generation … a poet'. 'I was only joking,' he adds later, although his talent as a frontman is less open to question: there's something gripping about the way he switches from straightforward 'Glastonbury-are-you-with-us?' enthusiasm to role-playing as a raddled, tormented pop star, pint in one hand, cigarette in the other. He makes earnest pronouncements about the lasting friendships at the centre of the band and is seemingly astonished at the size of the crowd: 'Oh Jesus,' he mutters as the lights reveal its full extent, 'yeah, it's normal, it's fine'. But then, there'll be arched-eyebrow examinations of his own genius, from posing to dancing with wild enthusiasm. It's a show that's frequently strange and self-deprecating – an intriguingly different approach to the business of headlining the world's biggest music festival – although it runs the risk of the actual music they make getting lost somewhere amid the visual bombardment and commentary. Happily, their set also functions as a reminder that behind all the irony, the 1975 are impressively skilled at the prosaic business of writing songs. If You're Too Shy (Let Me Know) or She's American have pop-facing melodies strong enough to shine through. The one point where the staging seems to overwhelm the show itself is during a lengthy interlude when the band vanish from the stage entirely and the message 'Matty is changing his trousers' flashes on to the screen. It's a very risky move indeed at a festival where there's always something else you could be watching: a minor exodus duly takes place in the audience. But when they return they start rolling out the big hits: It's Not Living (If It's Not With You), Sex, Love It If We Made It's dense parade of millennial angst, the gleaming pop of The Sound. It ends with About You's appropriately epic balladry, and the members of the 1975 embracing each other, apparently genuinely emotional: a straightforward conclusion to a bold, experimental, occasionally confounding, but ultimately hugely impressive performance.
Yahoo
3 hours ago
- Entertainment
- Yahoo
Geraldo Perdomo homers into the pool (9)
The Weeknd returns to SoFi Stadium for the first time since losing his voice in 2022 The Weeknd returns to SoFi Stadium for the first time since losing his voice in 2022
BBC News
7 hours ago
- Entertainment
- BBC News
Glastonbury: The 1975 deliver a polished, but safe headline slot
The 1975 emerged from hibernation to headline Glastonbury's Pyramid Stage on Friday, playing their only date of the year, and their first since March they were rusty, it didn't show. The band delivered a slick, crowd-pleasing show, full of streamlined hits and delightfully wonky stage Matty Healy is a fascinating creature. Simultaneously cocksure and anxious, he chain-smoked throughout the set, while delivering verbose lyrics about modern love and digital disconnection."This is really scary and I'm really nervous and I thank you so much for coming," he told the audience as the set kicked off. The band emerged in a flicker of static and staccato strings, accompanied by a lone saxophone, before breaking into was followed by heady rush of their biggest songs: If You're Too Shy (Let Me Know), Love Me and She's American - with Healy adding a few bars of the Backstreet Boys' I Want It That Way for good band were musically tight, mixing the digital textures of modern pop with chunky rock riffs and a healthy dose of 80s yacht rock - but the set often felt a little too safe. Healy's wilder excesses - kissing fans in the front row, eating raw meat - were notably absent. And the untamed, punky energy of People was the only number where the band were really allowed to cut loose. But as a tour through The 1975's greatest hits, the set was impeccable. Formed in Cheshire 23 years ago, songs from their self-titled debut album - including Chocolate, Sex, and Robbers - are now old enough now to be considered classics, and they were all met with screams and It If We Made It was urgent and bleak and hopeful, as it dissected the overwhelming nature of modern life. And Give Yourself A Try felt cast Healy as an older brother, dispensing well-meaning advice to young festivalgoers. "You learn a couple things when to get to my age," he sang. "Like friends don't lie and it all tastes the same in the dark / When your vinyl and your coffee collection is a sign of the times / You're getting spiritually enlightened at 29." 'A generational poet' After Part Of The Band, Healy stepped up to the microphone with an important announcement."I have this thing where it's difficult to tell when I'm being sincere," he said. "But I want to be sincere."What this moment is making me realise is that I, probably, am the best songwriter of my generation. "The best poet, ladies and gentlemen, is what I am. A generational poet."He then cued up Chocolate - a song about fleeing from the police with a stash of marijuana. I can't quite decide if that self-deprecation is The 1975's greatest strength or their Achilles' heel. At one point, a big sign flashes up between songs, saying "Matty is changing his trousers". It deconstructs the artifice of a rock show, making The 1975 seem more human - but equally, it deflates the excitement of watching a band in full flow. Or maybe I'm overthinking it. That's what The 1975 do to the most significant moment came towards the end, as Healy explained why the notoriously outspoke band, who've been banned from Malaysia for protesting it's anti-homosexuality laws, had steered clear of politics for the night."We don't want our legacy to be one of politics, we want it to be one of love and friendships. Go out into the world and there's loads of politics out there, and we need more love and friendship."Perhaps they were biting their tongues, aware of unfamiliar audiences watching at it will be interesting to see how that retreat from social commentary affects their forthcoming sixth album. The 1975 topped the bill in a day that saw several surprise performances across the site - although none of the secrets were particularly well Capaldi made a triumphant and emotional comeback, two years after he was unable to make it through a career-making performance on the Pyramid that performance, where a combination of anxiety and Tourette's conspired to make him lose his voice, the musician took a two year break from the laid those ghosts to rest on the Pyramid Stage just before tea-time, emerging to a huge swell of support from the audience."I just wanted to come and finish what I couldn't finish first time around," he told them, as tears welled in his more about Lewis Capaldi's comeback. Earlier, festival bosses had to close down the Woodsies field at 11:15am after word spread that pop star Lorde would open the spilled out of the tent and into the field as she arrived on stage shortly afterwards, to play her new album, Virgin, in was an interesting ploy. The album had only come out a couple of hours earlier, leaving most people unfamiliar with the material. While the audience made a concerted effort to grasp the new shapes and sounds, there was a noticeable uplift when Lorde closed her set with Ribs and Green more about Lorde's secret setOther surprise sets came from Jarvis Cocker, who played a DJ set on the Greenpeace stage, and Olivia Dean, who appeared in the Strummerville rumours spread that Foo Fighters' frontman Dave Grohl was handing out programmes at one of the festival gates; and Paul McCartney was spotted watching Irish band Inhaler from the side of the Pyramid Stage. Highlights of the first day included CMAT, who drew a huge crowd to the Pyramid Stage, making them laugh, dance, cry and sing along to her spirited country-pop songs."I'm CMAT, I have middle child syndrome, an amazing ass and the best Irish rock and roll country band in the world!" she declared, not says she still faces abuse after viral songOver on The Other Stage, Wet Leg proved they deserve higher billing than their mid-afternoon slot, with a set full of shaggy rock riffs and sardonic the heat, singer Rhian Teasdale poured cans of water over her head between fan favourite songs like Ur Mum and recent single Catch These Fists, but the biggest reception was reserved for their breakout hit Chaise Longue. Bringing a very different energy was hip-hop legend Busta Rhymes, whose cartoonish energy and breakneck rap flow was guaranteed to get the audience on side."We represent that real hip-hop culture," he boasted, after a run of hits that included Put Your Hands Where My Eyes Could See, Scenario and Woo Hah!! (Got You All In Check)."We don't need no special effects," Busta continued. "You know why? Because we are the special effects." Spoons for Alanis After Lorde's set, the Woodsies stage continued to draw huge crowds all day, with Lola Young, Myles Smith and Shed Seven all getting a rapturous heroes Blossoms rattled off a mini greatest hits set, before CMAT burst out of a gift-wrapped box and duetted with them on the single I Like Your had a moment of vulnerability, telling the audience she'd worried she wasn't "big enough to do this stage".But the response to songs like Illegal and Stateside, from her recent mixtape Fancy That (a career best) put those fears to rest. She even had to ask people to stop cheering after Boy's A Liar, in case her set overran. Alanis Morissette made her Glastonbury debut on the Pyramid Stage, running through the highlights of her 1995 album Jagged Little Pill, which somehow turned 30 two weeks like Right Through You and You Oughta Know have lost none of their caustic edge in the intervening years; while the softer songs (You Learn, Head Over Feet) remain encouraging and optimistic."I'm blown away that the songs I wrote when I was 19," she told BBC News. "I can still stand by them now."On stage, Morissette barely spoke to the audience, other than to introduce her band, but they were too busy singing to standout moment came during Ironic - a song that, ironically, misunderstands the concept of irony - when 10,000 fans held up spoons. And all she needed was a knife. Who would have thought? It figures. Glastonbury continues on Saturday with performances from Charli XCX, Neil Young, Doechii, Kaiser Chiefs, Kneecap, Raye and Scissor Pyramid Stage also boasts another surprise set, from a band billed only as can follow the action on BBC radio, television, iPlayer and BBC Sounds.
CTV News
7 hours ago
- Entertainment
- CTV News
The cat's meow, Edmonton Jazz Festival wraps up this weekend
A band performs outdoors as part of the Edmonton Jazz Festival on June 27, 2025. (Cam Wiebe/CTV News Edmonton) The Edmonton Jazz Festival is wrapping up nine days of sultry songs and riffs this weekend. Organizers hope to promote jazz music with more than 150 musicians and shows at nine venues including La Cité francophone, Yardbird Suite and the Winspear Centre. The last headliner of the festival is Stargazers, a progressive rock band from Brooklyn, which has a show at the Starlite Room on Friday night. Edmonton-based band, Pure Octane, will open the show. It's the pairing of local talent with international artists that organizers hope will draw more people to jazz music. 'It helps not only to bring out folks to see locally, but also these bands that you may not have heard of but you get to experience,' Joshua Semchuk with the Edmonton Jazz Festival told CTV News Edmonton at La Cité francophone on Friday. He said the acoustics at the patio outside Café Bicyclette are 'amazing' as a live band performed for a crowd enjoying the warm weather and some food with the music. Edmonton Jazz Festival (Cam Wiebe/CTV News Edmonton) People enjoy some live music at La Cite francophone. A band performs outdoors as part of the Edmonton Jazz Festival on June 27, 2025. (Cam Wiebe/CTV News Edmonton) All-local musicians are playing at La Cité francophone, with three bands set to play on Saturday afternoon. Spiral Flamenco, Brett Hansen's Confluence, and Audrey Ochoa on trombone are scheduled on the outdoor stage starting at noon. 'If you want to sit, go to Yardbird Suite,' Semchuk said, promoting shows at another venue too. '(It has) two shows with the fabulous Lorraine Desmarais Trio. She's got to be one of Canada's best jazz pianists,' he said, adding that shows will be at 7 p.m. and 8:30 p.m. on Friday. Marquis Hill, a trumpeter from Chicago, will perform at Yardbird Suite on Saturday night. Kepler, a trio from Paris, will close out the venue on Sunday night. Semchuk said a family-friendly jazz show will take place at the Winspear Centre on the last day of the festival. 'It's the second iteration of the Edmonton Jazz Orchestra meets the Edmonton Symphony Orchestra,' he said. 'They're doing jazz Broadway songs for the entire family.' The show will start at 2 p.m. on Sunday and it will feature songs from Disney to classic jazz songs from Porgy and Bess. The Edmonton Jazz Festival has been running for 20 years. Information about tickets and the full show schedule can be found online. With files from CTV News Edmonton's Cam Wiebe
BBC News
8 hours ago
- Entertainment
- BBC News
Glastonbury backstage photographer ready for Raye and Rodrigo
As stars like Olivia Rodrigo, Raye and Rod Stewart head onto the Pyramid Stage at Glastonbury this year, one photographer will have the perfect place to capture that Jackson from Bridgend has a small studio set up right next to the a photographer who loves music, it's his dream job."I'm photographing people I had posters of on my wall. It's a massive privilege," he said. Tom is never sure if the stars will agree to have their picture taken. They are told about his studio and asked to have a photo for the Glastonbury archive. Tom says the process is quite "organic", with some stars agreeing, others not, and some changing their minds at the last minute. So he has to be ready, set to take the shot at a moment's notice if the opportunity comes. "It's an electric place, it's nuts, everyone is on high tempo, the management, the artists."They come out of the VIP area, walk to me, have their picture taken, and the stairs are next to me going up to the stage."He remembered seizing the chance to capture one of his music heroes, when Dave Grohl and the Foo Fighters came in. "They came off stage quite suddenly so there was no management waiting, and I said 'Dave do you want to do it now?' "And he said 'boys, do you want to have a sweaty band picture' and they went 'Yeah'." "Dave Grohl was the drummer of Nirvana, one of my favourite bands, I've got their album on the wall there. It's mental."Raye was also "cool" although she had Louis Theroux and a documentary team in tow, which Tom said was a bit out of his comfort zone."They filmed the whole thing, then Raye came over and she was chatting to me, so the cameras came in again. "She was lovely, loved her pictures and posted them straight away. "The thing about Glasto is that it's such a big thing for the artists too, so to enjoy that moment with them is quite nice." So how do you bag a dream job? Tom's break came when he was photographing Emily Eavis at Glastonbury, the daughter of Michael Eavis who started the festival, for The Times Magazine. After the shoot, Tom decided to take a chance and send an email."I was quite frank and said, 'If you ever need anyone to do portraits on the Pyramid Stage, I'd just love to help'."In about half an hour, I got an email back saying 'We'd love you to'. "Then the first year it was crazy. "I photographed Kylie Minogue, The Killers, The Cure, Miley Cyrus, Lauren Hill, in three days."But then, he was no stranger to photographing celebrities. His work at The Times magazine led to him capturing all kinds of well known personalities, from a Spice Girl to Sir David Attenborough. Tom remembered out of everyone he's photographed, it was Sir David, who made him feel the most star-struck. "When you're looking through a lens and you see that man... it's mad. He has to be one of my favourites."Tom had 40 minutes to get that shot in Sir David's home. That's a luxury compared to some of the other stars he's said his time with England and Arsenal footballer Bukayo Saka was cut heavily, and he ended up doing the entire shoot in just seven of Tom's favourite photos he's taken is of Lenny Kravitz. The shoot took place in a Paris hotel overlooking the Eiffel Tour, and the rock star was up for playing the part."He had this huge leather case and I thought it's a guitar. He said 'look at this, man' and he opened it up and it was full of god knows how many vintage sunglasses. But he was game. I said do you mind sitting in the bath and he said 'Yeah, get me some champagne'."Tom has done the press photography in recent years for the Christmas special of Gavin and Stacey and also the Finale. He captured actors James Corden and Matthew Horne, Smithy and Gavin. "I was photographing them as characters but then they just started having a laugh and fooling around and I just got a nice picture of them both."His shot of Jarvis Cocker, lead singer of Pulp, was taken in the rehearsal room for the bands' current tour."He helped edit them and it was cool." "I was stood in a Camden studio watching them rehearse and it was like a live private gig with Pulp."Key to a good shoot for Tom is to be prepared, to be set up and ready to go, play some music to help relax people and ensure that everyone feels comfortable. That way Tom feels he'll get the best portrait."I like faces, character in faces. I want to capture 'them', the person."And now that most of us carry good quality cameras in our pockets, built into our phones, what's Tom's top tip for taking a good picture?"Use the flash. Every time."
