Glastonbury on Sunday.
They should have been converging on the Sunday morning church services and, for a while, it looked as if some religious gathering had descended on the vast acres of Somerset's finest arable farmlands. But there were no vicars or priests to welcome in the congregation. What Somerset did see was a vast celebration of musical virtuosity, a symposium of the great and good who had shaken pop music to the foundations several decades ago but had now arrived at Glastonbury with nostalgia and modernity still in their veins.
Glastonbury had once again delivered the goods but a nasty stench of antisemitism and vile hatred had threatened to destabilise this yearly music festival that does so much to spread the gospel of peace, reconciliation, happy go lucky euphoria, unity and harmony. Once again, political controversy and disgraceful rhetoric had seeped down to this loveliest piece of English countryside. It was an ugly, repulsive, despicable act of violent racism and the kind of behaviour Glastonbury could have done without.
But while there are dissenting voices roaring out their fury and protesting movements of rebellion, there will never be a clear resolution to events in both Israel and Iran, Gaza and Israel and Russia and Ukraine. So we hung our heads in error at the utterly reprehensible events that unfolded yesterday afternoon. When the disgusting and utterly egregious Knee Cap, an Irish rabble of so called musicians, stormed onto one of the many stages at Glastonbury, we somehow knew there would be trouble.
And so there was. Knee Cap, complete with Palestine and anti Israel foul mouthed obscenities, pranced around the stage like some ignorant, idiotic bunch of thuggish criminals who looked as if they were rehearsing for a major punch up in a local shopping centre. They weren't equipped with knives, guns or bombs but, for all the world, it certainly seemed they were ready to incite violence and division.
Then a man named Bob Vylan swaggered into view, seething with anger, deeply offensive vitriol and villainy. Vylan promptly launched into his poisonous verbal tirade, a speech loaded with abusive comments and unforgivable death threats. Vylan wanted to see the annihilation of the Israel Defence Force. You squirmed with shock and revulsion, barely able to understand the magnitude of what had just happened.
For a while it looked as though events going on behind the scenes would wreck one of the most joyous and uplifting music festivals ever created. On Saturday evening, an immensely talented soul singer named Raye had brought a warm aroma of rhythm and blues and soul to Glastonbury. There was 1975, a group fronted by a ridiculously drunk singer who, at times, seemed certain to fall off the stage with a pint of Guinness in his hands, staggering around in a state of helpless inebriation.
But it was all about Sunday afternoon at Glastonbury. This was the day reserved for the legends, the singers who had made their name many a decade ago and were still going strong in 2025. We had seen Celeste and Turnstile albeit very briefly and dozens of young aspirational wannabes who were desperate to say that they had fulfilled their Glastonbury ambitions. But then at Sunday tea time, our patience was rewarded and it was time for a classical display of legendary pop royalty.
In their eyes of many of us, Nile Rodgers and Chic are one of the funkiest, most delightful and stunning soul bands from the 1970s. Chic had witnessed the full flowering of disco music at its most beautiful and creative. But the central figure who had made it all impossible was Nile Rodgers. Now in his 80s, Rodgers is one of the most immensely versatile of guitarists with the most prolific output. Rodgers has written for all the greats in his industry, ranging from Sister Sledge, Diana Ross, Madonna, David Bowie and a whole host of others who all responded to Rodgers shrewd advice and infinite wisdom.
Nile Rodgers may be in the twilight of his fabled career but he's still got it. Of course he has. Yesterday he gave us eloquent chapter and verse on all of his contemporary geniuses. He told us about Madonna's insistence on choosing Like a Virgin rather than Material Girl as her next single. He mined the superb repertoire of David Bowie with Let's Dance given the full Rodgers guitar treatment. But first and foremost he gave us Chic in all their 1970s disco splendour and glory.
There was the Diana Ross back catalogue superbly covered with a Rodgers solo. Upside Down and I'm Coming Out were simply unforgettable. Then there was the celebrated all girl band known as Sister Sledge from which we were royally entertained with the wonderful We Are Family and She's the Greatest Dancer, dance floor fillers that took New York's famous Studio 54 nightclub by storm. They were still dancing and performing flexible acrobatic routines until well into the small hours of the next morning.
And then there was Chic itself and Rodgers was quick to praise his fellow guitarist the late Bernard Edwards who had done so much to refine the Chic style. Who could ever forget the ultimate soul classic Dance, Dance, Dance, almost an affectionate homage to disco dancing, I Want Your Love, a Chic track full of romantic yearning but funk in every chord and cadence. Everybody Dance illustrated the sheer elation of strutting your stuff and showing off in front of your friends. Finally there was Good Times, a track that encompassed everything that was good and special about Chic. These were indeed heady, giddy days for both Nile Rodgers and Chic .
Both Madonna's Material Girl and Like a Virgin were an essential part of Rodgers repertoire, David Bowie's Young Turks and much that Rodgers had so meticulously produced. Wearing a black bandana around his head and dreadlocked hair, he was the epitome of style and casual grace. He was too modest and self effacing at times, giving complete credit for those he'd launched on the road to celebrity and fame.
Then there was the one and only Sir Rod Stewart, the incomparable and unmistakable pop singer, that seasoned old trooper now but quite the most remarkable performer and showbiz exponent of the highest order. Stewart is one of those household names in the music industry who seems to have been around for ever. Rod Stewart is, quintessentially a national treasure, and can probably remember when the Cavern Club was packed to capacity during the early 1960s.
Originally a member of the Small Faces with his old mate and mucker Ronnie Wood, both Stewart and Wood just showboated through the whole hour and an half with a shameless confidence and an insatiable zest for life with, at times, performance art on the stage. Kicking off with the rousing Tonight I'm Yours, he followed this great old standard with Having a Party, upbeat, positive and full of exultant rejoicing.
By now Stewart's backing girl singers were in full instrumental spate. There were innumerable violins, acoustic guitar solos and banjos from the enthusiastic ladies. There was a magnificent rendition of the O'Jays Love Train where Stewart extolled the virtues of the wonderful American pop show Soul Train. Following hard on the heels of these vinyl 45 beauties was Some Guys Have All the Luck, the bittersweet the First Cut is the Deepest, the heartfelt and tender Tonight's the Night, You Wear it Well, which, as Stewart reminded us, was released in 1972 and then the more recent masterpieces.
Do You Think I'm Sexy almost appealed to every female in the Glastonbury audience since by now they were both swooning and fantasising about Sir Rod as the ultimate sex symbol. I Don't Want to Talk About It was almost a cry from Stewart's heart about unresolved crisis moments in his private life. And then as we reached the conclusion of this astonishing trip down memory lane, Stewart gave us the full might of his lyrical powers.
Maggie May and Sailing will always be associated with Stewart because they were what he was all about and illuminated his career with the most shining light. Maggie May was very much an early foray into the commercial mainstream and sold in millions, a reference perhaps to one of many of Stewart's many sexual liaisons and girlfriends who would follow him to the end of the earth. It was vintage Stewart, a beautifully crafted piece of music that could almost have been sculpted from a delicate chisel.
And finally there was Sailing from Stewart's extraordinary best selling album Atlantic Crossing. Sailing was a genuine masterpiece from beginning to end. It dominated the UK charts for almost the entire summer of 1976 and elevated Sir Rod to the highest summit of his career thus far. We're all now familiar with Stewart's tempestuous love life but his marriage to Penny Lancaster has now reached a 27th year.
Towards the end Stewart introduced us to his fellow musicians and lyricists, There was Simply Red's Mick Hucknell followed by that Scottish stick of dynamite Lulu. Both Hucknell and Lulu wore the appropriate dark sunglasses. By now Glastonbury was on such a high that, the whole Legends stage became a huge love in. The hot evening sunshine continued to beat down on Somerset almost relentlessly and the bright blue skies reminded you once again of Glastonbury's summer feelgood reputation. Both Sir Rod Stewart, Lulu and Mick Hucknell were all donning sailor's hats, arm in arm and besotted with the good vibes. Glastonbury had done it again. We knew it would.