Saturday at Glastonbury: Self Esteem and AJ Tracey perform – live! | Glastonbury 2022

Tara Joshi

All weekend we have been asking festival goers to tell us where at Glastonbury they would also take Paul McCartney with them if they had the chance (he is quite elusive, it turns out!). Here are Macca super-fans Lorraine, Ruth and Jo:

Lorraine, Ruth and Jo, Paul McCartney fans.
Lorraine, Ruth and Jo, Paul McCartney fans. Photo: Tara Joshi / The Guardian

Ruth: That should be something that suits a sir!

Lorraine: I wanted to take him for a good cream tea so I could talk to him about the early days – I would love that! I would even take him for two cream teas, it would make my day.

Black Midi reviewed

Kate Hutchinson

Kate Hutchinson

John Peel, 2.30pm

The rise of Black Midi has been nothing short of amazing: here’s a band that has come out of playing small, grotty Brixton venues whose unholy noise flaunts its freak flag high, whose freeform songs follow their own bananas without rules, always with a tendency to ping into a prog-metal collapse, and who, with the exception of their masked brass winds, dress like accountants during their lunch break.

And yet, the quintet is Mercury-nominated, three albums in (new, Hellfire, is out next month) and playing for their biggest audience to date at West Holts this afternoon. The weirdos have won. They have grown since 2017 from trio to five-man skunk-off, a sound rooted in free jazz, but which turns the genre faster than you say “fairs”(The blurry sing-speak so loved by bands like Dry Cleaning and Midis Gen-Z Mark R Smith vocalist, Geordie Greep).

Even if you do not understand Black Midi’s sonic maelstrom, funk-metal one minute, honky-tonk country-rock the next; even though it’s like looking at the alphabet of the fridge upside down and backwards, their music is so alarmingly impressive that it exceeds unequal inaccessibility – you just have to buckle up and go where it takes you. And it will always take you somewhere, even if it’s to get a beer.

Their music may at first sound as if it may fall apart, but it is closely orchestrated, and even when deliberately bolshy, it is not out of sync. Still, you get the impression that mind is being fried over the field: A track with a confused brass freak out is so blistered that it evokes a “farking hell” from the fathers nearby. You have to give it to them: they have completely created their own trajectory.

The closest they come to what one might call songs seems to be their newer material. There’s one where bassist Cameron Picton takes the stage, with acoustic guitar in hand, to sing a rolling country number that sounds a bit like Maccabees from their rockers. Or at the end, when the endlessly charismatic Greep (guitarist), despite never taking the shadow off, goes for a proper 70s Elvis-y belts on another new track, The Defense. They can do it, you see – they’re just better than that. “It’s the kind of music I expect to hear when I walk through the gates of hell,” one spectator whispers to another. And that’s exactly how the Black Midi wants it.

Breakout British rapper AJ Tracey is underway at Pyramid, backed by a very chunky-sounding live band.

Skunk Anansie reviewed

Likewise MacDonald

Likewise MacDonald

Second scene, at

When Skunk Anansie’s legendary frontwoman Skin goes out on the second stage in a stunning luminous neon suit with CLIT ROCK on her back, wearing a black club kid inflatable headdress with lace and elaborate Disney villain emerald green eye makeup, Skunk Anansie’s legendary frontwoman Skin revives a trio Saturday after a trin . her presence. After opening with Stoosh’s furious opener Yes It’s Fucking Political, she’s already by the second song climbed over the barrier and into the crowd. This is a much more welcome look back from the 90s than the deplorable fluffy bucket hats that are now everywhere again.

Skin from Skunk Anansie appears on the second stage.
Skin from Skunk Anansie appears on the second stage. Photo: Dylan Martinez / Reuters

We see experienced artists here, who were famous for the lead role in the pyramid in 1999, but they do not look very tired. “We like to write brand new songs, otherwise we’d just be a ’90s band trawling around the planet,” Skin jokes before starting on their fresh track Can’t Take You Anywhere. “In this new world order, we have people we love who have opposing views of us, but at the same time you have to get over it, keep your views and love them anyway,” Skin believes, before clarifying: “If they” re anti-abortion on the other hand, they can fuck off. “

Skin's fantastic outfit.
Skin’s fantastic outfit. Photo: Dylan Martinez / Reuters

These are songs with huge riffs and huge emotions, and Skin can still seemingly effortlessly carry them all along with his soaring, powerful voice. The band does not waver a single time, and although it is Weak who predictably makes the audience sing enthusiastically while Skin holds his microphone up, this set does not lean too much on previous hits. This is a band that has taken its rightful place in British rock history, but they still have something to say and an incomparable voice to say it with. And once again: the OUTFIT. Candidate for the party’s best lewk, for sure.

Self Esteem becomes the latest artist to touch Roe v Wade:

“This is a song called Three Four Five, for our sisters in America … for hell!” she says.

Laura Snapes reports that Self Esteem has just dedicated a song to Big Jeff Johns, the famous Bristol concertgoer and artist who was recently hospitalized after a house fire. “I will soon see you back in the crowd,” she says.

Read more about Jeff here:

I just flipped over to Self Esteem on iPlayer and can confirm that the outfit is something of something. What an achievement too: She has just received a massive ovation from the audience – after a pulsating performance of How Can I Help You – and it’s only midway through the set!

Shaad D’Souza is over on the Park stage, where rapper Sampa the Great is performing, and history is being written. “I’m on this stage with the first Zambian band to perform at Coachella,” she says. “The first Zambian band to perform at the Sydney Opera House … and the first Zambian band ever to perform at Glastonbury!”

Sampa the Great on the Park stage.
Sampa the Great on the Park stage. Photographer: Shaad D’Souza / The Guardian

Tara Joshi

Shangri-La at the Glastonbury Festival
Shangri-La at the Glastonbury Festival. Photo: David Levene / The Guardian

Shangri-La, Glastonbury’s infamous late-night area, is a very strange place to be during the day. One in blue wig came right up to me and asked if I had considered becoming a hologram.

Gabriels reviewed

Alexis Petridis

Alexis Petridis

The park scene, at

A sunny early Saturday afternoon turns out to be the perfect slot for Gabriels. Their groundbreaking debut single, Love and Hate in a Different Time from 2021, may lead you to the assumption that their sound is firmly rooted in the soul of the 60s, an impression strengthened by the synchronized movements of their three backing singers and lead singer Jacobs nice attire Sneaky that removes a sky blue robe to reveal evening dress, complete with butterfly. But the reality is more far-reaching than that: They evoke disco, gospel – Lusk is the choir leader – and jazz-bent pre-rock’n’roll pop in different ways.

Their songs sound beautiful, but they are often slow-paced and opaque: Instead of grabbing you by the neck, they demand the attention of an audience that audiences gathered on the Park stage seem happy to give them. Lusk has a sincerely shaky voice – a former American Idol contestant, his falsetto can sound alternately tender and eerie – and he is a natural performer who addresses audiences like Glastonbury Missionary Baptist Church and encourages them to address it , which stands next to it. them and tell them that they love them for a long time. When he performs an unexpected and beautifully delicate cover of Barbra Streisand’s The Way We Were to a wave of applause that takes a while to die down, it’s clear they’re completely won over.

Up on the West Holts, the Black Midi are holding a ball with their frenetic jazz rackets. Geordie Greep (probably the best name in indie) keeps shouting “Cassanova, Cassanova” with a cod-Italian accent between the songs. They are currently playing a kind of funk metal number that sounds like Red Hot Chilli Peppers with concussion. Musically, it’s about as self-indulgent as it can get, but also great fun.

Per Laura Snapes, Self Esteem is wearing a rather absurd outfit: “Like a cross between Madonna’s cone bra and a satellite ?? With nipples? ” Pictures are coming!

Self Esteem, the Guardian 2021 album of the year winner and one of the weekend’s big must-watch sets for many here, is about to pass on to John Peel. Half of our cabin is taken over to look at her: she’s doing a damn show.

Time for another fashion vox pop. Here is the spectacular-looking group of Carly, 28; Nigel, 28; Rory, 27; Rian-Louise, 27, and Tara Davina, 26.

The fabulous Carly, 28;  Nigel, 28;  Rory, 27;  Rian-Louise, 27;  Tara Davina, 26.
The fabulous Carly, 28; Nigel, 28; Rory, 27; Rian-Louise, 27; Tara Davina, 26. Photo: David Levene / The Guardian

“The theme is Inter-gay-lactic, which is intergalactic with a gay spin: metallic space cadet-sexiness. A lot of planning has been put into this, considering we got the tickets three years ago. It’s been a long time coming, this weekend.The other themes are Euphoria Fairy (after the TV show); then the 1970s for Diana Ross – she deserves it.Give the queen her crown.We are all Glastonbury virgins, this is our first.We have taken our vitamins religiously “so we keep smiling through the weekend. It’s far bigger than we expected. It’s crazy. It’s a different world!”

Black Midi drummer Morgan Simpson has some serious chops. They have just rattled off Welcome to Hell, the main single from their upcoming album, Hellfire. It’s deeply strange – think King Crimson meets Cardiacs with a detour to thrash metal midway – but also deep ace. You can watch iPlayer, FYI.

Black Midi, the hugely divisive – but in my opinion ingenious – avant-garde art-rock band tears themselves through a set on the West Holt stage. They sound heavy as hell, and open with the riff party 953 from their debut Schlagenheim.

Guardian fashion update: along with the obligatory bucket hat, this year’s must-have is a 90s football kit, preferably from a lower league or European club. So far I have already seen Coventry City, Grimsby Town, Bradford City, Plymouth Argyle, this belt of an away kit from Sunderland, Margate FC (sponsored by Libertines, nothing less), Lazio, Borussia Mönchengladbach, at least three Benfica tops and a delicious Real Betis away kit. (For my part, I have the 1991 Wales away kit today.)

A Liverpool fan sees Jamie Webster perform on the Left Field stage during the Glastonbury Festival at Worthy Farm in Somerset.
A Liverpool fan sees Jamie Webster perform on the Left Field stage during the Glastonbury Festival at Worthy Farm in Somerset. Photo: Yui Mok / PA

The dominance of the football jersey feels like a fairly recent development: There was a time when football fans felt from a completely different world to festival goers, where it would have made you stick out like a sore thumb to swing a football jersey at Glastonbury. But now there’s a slightly more hipster credibility to rock a slightly obscure set – it’s replaced the band’s T-shirt. One problem though: these 90s are pretty heavy for the polyester, an approximately as breathable fabric as you can get, so things are likely to get very sticky for the football hipsters in the dance tents tonight.

Skunk Anansie has just ripped through Weak, which has prompted a big, big festival song. From the cabin, I can report that Skin to a large extent still has range. Practice!

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