The 1975 emerged from a period of relative inactivity to headline Glastonbury’s Pyramid Stage on Friday, marking their only performance of the year and their first since March 2024.
Any concerns about rust were quickly dispelled as the band delivered a polished, crowd-pleasing set, seamlessly blending hit songs with their signature, endearingly quirky stage presence.
Frontman Matty Healy remains a compelling figure. Simultaneously self-assured and introspective, he punctuated the performance with chain-smoking while delivering verbose lyrics exploring themes of modern love and digital disconnection.
“This is really scary and I’m really nervous and I thank you so much for coming,” he confessed to the audience as the set commenced.
The band’s entrance was heralded by a flicker of static and staccato strings, accompanied by a lone saxophone, before launching into “Happiness.”
What followed was a potent rush of their most recognizable tracks: “If You’re Too Shy (Let Me Know),” “Love Me,” and “She’s American,” with Healy interjecting a brief rendition of the Backstreet Boys’ “I Want It That Way” for added flair.
Musically, the band was tight, fusing contemporary pop’s digital textures with robust rock riffs and a generous helping of 80s yacht rock. However, the set occasionally leaned towards predictability.
Healy’s more provocative antics – kissing fans in the front row, eating raw meat – were noticeably absent. The untamed, punk energy of “People” provided the sole instance where the band truly unleashed their raw potential.
Nevertheless, as a comprehensive retrospective of The 1975’s greatest hits, the set was undeniably accomplished.
Formed in Cheshire 23 years ago, tracks from their self-titled debut album – including “Chocolate,” “Sex,” and “Robbers” – have matured into established classics, eliciting enthusiastic screams and singalongs from the crowd.
“Love It If We Made It” was delivered with urgency and a poignant blend of bleakness and hope, dissecting the overwhelming nature of modern existence.
And “Give Yourself A Try” positioned Healy as an older brother figure, dispensing well-intentioned advice to the young festival attendees.
“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.”
Following “Part Of The Band,” Healy approached the microphone with a significant declaration.
“I have this thing where it’s difficult to tell when I’m being sincere,” he stated. “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 introduced “Chocolate” – a song recounting a flight from law enforcement with a stash of marijuana.
It remains debatable whether this self-deprecation constitutes The 1975’s greatest strength or their Achilles’ heel.
At one juncture, a large sign illuminated between songs, announcing “Matty is changing his trousers.”
This deconstruction of the rock show’s artifice humanizes The 1975 – but simultaneously diminishes the exhilaration of witnessing a band at the peak of their performance.
Or perhaps this is overthinking things, which is a common effect of The 1975’s music.
Notably, towards the set’s conclusion, Healy addressed the band’s decision to refrain from political commentary for the evening, explaining that, despite being known for their outspoken views and facing a ban from Malaysia for protesting anti-homosexuality laws:
“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 consciously moderating their message, aware of the extensive viewership at home.
It will be compelling to observe how this shift away from social commentary influences their upcoming sixth album.
The 1975 headlined a day characterized by several surprise performances across the festival grounds – though few of the secrets remained particularly well-guarded.
Lewis Capaldi delivered a triumphant and emotionally charged return, two years after being unable to complete a career-defining performance on the Pyramid Stage.
Following that performance, during which a combination of anxiety and Tourette’s syndrome led to a loss of his voice, the musician took a two-year hiatus from performing.
He laid those challenges to rest on the Pyramid Stage just before the evening, emerging to an overwhelming surge of support from the audience.
“I just wanted to come and finish what I couldn’t finish first time around,” he shared with the crowd, tears welling in his eyes.
Earlier, festival organizers were compelled to close the Woodsies field at 11:15 am after word circulated that pop star Lorde would be opening the stage.
Fans spilled out of the tent and into the field as she arrived on stage shortly thereafter, to perform her new album, “Virgin,” in its entirety.
It was a bold move. The album had only been released a few hours prior, leaving most attendees unfamiliar with the material.
While the audience made a concerted effort to embrace the new sounds, there was a palpable increase in energy when Lorde concluded her set with “Ribs” and “Green Light.”
Additional surprise sets were delivered by Jarvis Cocker, who presented a DJ set on the Greenpeace stage, and Olivia Dean, who appeared in the Strummerville tent.
Elsewhere, rumors spread that Foo Fighters frontman Dave Grohl was distributing programs at one of the festival entrances; and Paul McCartney was observed watching Irish band Inhaler from the wings of the Pyramid Stage.
Highlights from the opening day also included CMAT, who drew a substantial crowd to the Pyramid Stage, eliciting laughter, dancing, tears, and singalongs with 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, with considerable accuracy.
Over on the Other Stage, Wet Leg demonstrated that they deserve a more prominent billing than their mid-afternoon slot, delivering a set brimming with shaggy rock riffs and sardonic wit.
Battling the heat, singer Rhian Teasdale poured cans of water over her head between fan favorites such as “Ur Mum” and the recent single “Catch These Fists,” but the warmest reception was reserved for their breakout hit, “Chaise Longue.”
Offering a starkly contrasting energy was hip-hop icon Busta Rhymes, whose larger-than-life persona and rapid-fire rap delivery were guaranteed to resonate with the audience.
“We represent that real hip-hop culture,” he proclaimed, following a medley 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.”
Loyle Carner succeeded him, presenting a more subdued style of rap – centered around the poignant tracks from his new album, “Hopefully!”
The Croydon-raised rapper performed many of the early songs with his eyes closed, appearing overwhelmed by what he described as “the biggest show of our lives.”
However, as Sampha joined him onstage for “Desoleil (Brilliant Corners),” Carner began to smile, and relaxed into his blissful set.
Following Lorde’s performance, the Woodsies stage continued to attract sizable crowds throughout the day, with Lola Young, Myles Smith, and Shed Seven all receiving enthusiastic responses.
Indie favorites Blossoms delivered a concise set of their greatest hits, before CMAT emerged from a gift-wrapped box and duetted with them on the single “I Like Your Look.”
PinkPantheress shared a moment of vulnerability, admitting to the audience that she had worried she wasn’t “big enough to do this stage.”
However, the response to songs such as “Illegal” and “Stateside,” from her recent mixtape “Fancy That” (a career highlight), allayed those fears. She even had to request that the audience refrain from cheering after “Boy’s A Liar,” to avoid running over her allotted time.
Alanis Morissette made her Glastonbury debut on the Pyramid Stage, performing the highlights from her 1995 album “Jagged Little Pill,” which inexplicably reached its 30th anniversary two weeks ago.
Tracks such as “Right Through You” and “You Oughta Know” have lost none of their caustic edge in the intervening years, while the gentler songs (“You Learn,” “Head Over Feet”) remain uplifting 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 primarily refrained from addressing the audience, opting to introduce her band, though the crowd seemed too engaged in singing along to notice.
The highlight of the set was undeniably “Ironic” – a song that, ironically, misinterprets the concept of irony – during which 10,000 fans raised 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 Sisters.
The Pyramid Stage also features another surprise set, from a band billed only as Patchwork.
You can follow the action on BBC radio, television, iPlayer and BBC Sounds.
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