“If anybody brings as much noise as this, I’ll retire!” shouted Prodigy’s vocalist Maxim as the band’s blistering set on the Other Stage officially closed out Glastonbury Festival 2025. Safe to say Maxim doesn’t need to hang up his dancing shoes just yet. The group’s first performance at the festival since the death of dancer turned vocalist Keith Flint was a fitting and emotional tribute to their lost brother whose spirit lives on in this unfettered, bonkers and undeniably loud performance.

Indeed, this year’s Glastonbury was packed with emotional moments, some raw, some angry, some beautiful and some newspaper-headline-grabbing. For all the political hysteria and outrage surrounding the Pro-Palestine statements from rap group Kneecap and punk duo Bob Vylan (who were very far from alone in sharing messages of urgent solidarity across the weekend but remain the only ones facing legal inquiry), Glastonbury is of course no stranger to controversy. From 1984’s The Smiths performance being considered too heavy a departure from the festival’s 60s-style psychedelic rock roots through to the Oasis-led backlash to Jay-Z’s now-iconic 2008 show, it’s not Glastonbury without some feather-ruffling. Now, though, we’re not arguing over genres. We find ourselves facing global wars, mass genocide, poverty, climate crisis and the rise of right-wing billionaire leadership. This weight leaves us feeling powerless and yet Glastonbury still acts as both a voice of peace and a tonic for the soul.

‘Optimism is a political act’ declared one artwork in the Silver Hayes dance music zone and we were drenched in addictive positivity from the get-go. “We are all that we have… Good is coming for you and it’s going to hurt,” enthused Joshua Idehen, whose uplifting poetry weaves through sumptuous house beats to acknowledge the power of empathy. His show at the Rum Shack was received by an enthusiastic crowd who joined him in a Nigerian wave (front to back rather than the Mexican variety from side to side), his takedown of political dogmas on ‘Mum Does The Washing’ and a cover of Talking Heads’ ‘Once in a Lifetime’, which felts as poignant as ever. He left the stage with a wave, a wink and a “Fuck the fascists!”

Continuing the affirming mantras were En Vogue. With perfectly coordinated dance moves and slick harmonies, their set at the West Holts stage included a mega mix of songs that have inspired them throughout their long careers, starting off with The Beatles’ ‘Yesterday’ and speeding through the likes of ‘Mighty Real’, ‘Ring My Bell’, ‘Soul Sister’ and into their own anthems such as the apt ‘Free Your Mind’. They were note perfect, utterly gorgeous and gracious to a fault.

For those seeking more legends, Glastonbury didn’t disappoint. Neil Young and The Chrome Hearts and Nile Rogers with Chic, as well as Black Uhuru, Burning Spear and Busta Rhymes, all showed they’ve still got. But our favourite seniors were Pulp (AKA ‘surprise’ act Patchwork) whose show marked 30 years since their career-defining performance at Glastonbury 1995. Jarvis Cocker, replete in one of his signature geography teacher suits, hand danced and swayed through the hits, from ‘Sorted for E's & Wizz’ to ‘Common People’, plus songs from the new album ‘More’. The now 61-year-old reminisced about the first time he went to the festival as a punter (the story goes that he left early, unable to cope) and eventual realisation that the key to Glastonbury happiness is simply submitting to the chaos.

Submit we did, embracing it all from Goldie’s jungle marathon through to Goat’s shamanic guidance and from Jalen Ngonga’s sweet soul nostalgia to She’s Got Brass’s dynamic show of togetherness. BADBADNOTGOOD were a breath of fresh air at the West Holts stage with their sci-fi-tinged hip hop/jazz complete with mellow grooves, soaring saxophones and Alexander Sowinski’s artful drumming. And bringing a tear to our eye on the same stage was Yussef Dayes who dedicated ‘Turquoise Skies’ to his dearly departed mother. The Yussef Dayes Experience played against a backdrop of a photo of the bandleader as a little boy being carried by his “angel in the sky”. The set proved them to be maestros of their artforms, together building mediative, percussive soundscapes with the power to take us to the source.

As ever, Glastonbury paid host to a number of special guests. The ever-effervescent Scissor Sisters brought on Jessie Ware, Beth Ditto and Ian McKellan who recreated his monologue from their 2010 single ‘Invisible Light’ and became overwhelmed as the crowd chanted his name. Robert Smith joined Olivia Rodrigo and Gracie Jones danced to ‘Apple’ during Charli XCX’s show. Loyle Carner also treated us to both Sampha and fellow headliner Jorja Smith. Meanwhile Lorde shut down the Woodsies stage with her not-so-secret slot and Skepta put in a blistering turn as a welcome replacement for ill-struck Deftones.

Greentea Peng matched the weekend’s sweaty temperatures with slow and woozy tracks from her second album ‘Tell Dem it’s Sunny’. Passing through Bob Marley and Nancy Sinatra territories, and ably accompanied by ‘Brenda’ the double bass, the south Londoner’s sultry voice revealed introspective depths while imploring, “Free us from the lies and illusion”. Equally heartfelt was fellow south-sider Joy Crookes who expressed her love for Glastonbury in the way “the festival appreciates artists like no other” and then embarked on a set filled with her latest songs exploring emotional hardships and growth. Her rich and honeyed voice landed perfectly as she wrapped with the crowd-pleasing ‘When You Were Mine’.

Amaarae, flanked by two mesmerising dancers, commanded the stage as her butter-wouldn’t melt voice belied the boss bitch attitude of her new music. The Ghanaian artist performed a UK-themed megamix of classics from Adele, So Solid Crew and Amy Winehouse. However, her own songs still trumped, such as the tender ‘Wasted Eyes’ and current single ‘S.M.O’, giving us a taste of the full-throttle energy to expect from her forthcoming ‘Black Star’ album.

Then moving into sixth gear, headliner Doechii followed with the ultimate hip hop masterclass. The schoolroom-like set, complete with desks, chairs and boombox, set the scene for the Florida don to show us how it’s done, ably abetted by gossip girl Miss Milan. The ‘swamp princess’ had clearly done her own homework as she channelled the best of Missy Elliott and Beyoncé into her ferocious bars and an unrelenting choreography that left us all panting for more.

Equally inspiring were the plethora of new names. Glastonbury would be nothing without the emerging talent it platforms. We were impressed with the Halfway Kid’s smiley take on afro folk. He gave a shout out to one of his idols, Billy Bragg, whose Leftfield stage he played on, and moved us with ‘Immigrant Song’, his ode to his own family’s journey from Sudan to the UK, dedicated to “Free Sudan. Free Congo. Free Palestine.” Bawah (formerly Mauvey) honoured his Ghanaian heritage with his ever-evolving and refreshing take on afrobeats. “Africa sound like this. Melanin sounds like this,” he sung. And songstress Nectar Woode sent good vibrations out from the BBC Introducing stage followed by friends MRCY whose soulful sound is surely destined for greatness.

These and many more – heck over 4,000 performers make up this behemoth event each year – ensured Glastonbury 2025 felt good and did good. On the Park Stage, Pa Salieu, alongside his masquerade dancers and wearing a wax print flak jacket, perhaps said it simplest: “We want peace. We don’t want war. We want energy. Consciousness.”