As many tears inside as out.ĭance music had long since conquered clubland, but its clout as a force to unify a vast festival crowd was unrecognised until Orbital took Glasto ’94 by synthetic storm. The lucky few inside reported a bewitching set of very modern heartache – “Glory Box” and “Sour Times” capping a show of immense grace and emotion. But the arrival of local (ish) heroes Portishead bearing the sumptuous jazz lounge trip-hop of their hugely acclaimed debut album Dummy prompted just such polite chaos. Dolly-beating stuff.Īs many a troubadour will attest, it’s rare to find a crush of 15,000 people stuck outside the Acoustic Tent. There were celebrity guests, too, including Chris Martin on “Can’t Get You Out of My Head” and Nick Cave for “Where the Wild Roses Grow”. When she finally honoured the booking 14 years later, for 2019’s Legends slot, she pulled out all the stops, putting on a headline-worthy show rammed with her biggest hits. The Eavises, however, couldn’t get her out of their heads. In 2005, Kylie was forced to pull out of her Pyramid Stage headline slot due to her cancer diagnosis, a wrench for fans and artist alike despite Coldplay’s spectacular replacement set. Kylie performs All The Lovers at Glastonbury “Bolan played on and on and on as the sun was going down,” Eavis recalled, “all the hits, the full works, and it sounded fantastic.” Yet Bolan’s T Rex stormed the inaugural Glastonbury (or the Pilton Pop, Folk & Blues Festival as it was known – £1 per ticket and all the milk you could drink). “Don’t touch my car!” Marc Bolan barked at Michael Eavis when the burgeoning festival don – en route to Minehead Butlin’s to replace The Kinks at what was then essentially a farmer’s party taking place on a stage held together with string – tried brushing leaves off his Cadillac.
Generation “Loaded” came together as one, and rock and dance cultures mated furiously in the bushes at this peak of the ecstasy rave explosion. Yet Primal Scream bringing Screamadelica to the NME Stage in 1992 was more of a collective celebration of music’s most double-visioned zeitgeist. The volume, according to some onlookers, was like listening to a car stereo playing ”Movin’ On Up” underwater three miles away.
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