Jo Whiley, 59, puts on a very leggy display in leather shorts and boots as DJ wows with her ageless appearance at Glastonbury
Jo Whiley put on a leggy display as she stunned fans with her ageless appearance at Glastonbury festival on Saturday.
The DJ, 59, took to Instagram to post a slew of snaps from the festival in Somerset as she finished her presenting gig from the night before.
In the snaps, Jo looked nothing short of sensational in black leather shorts and a bedazzled The Cure top.
The mother-of-four teamed the look with black leather boots that showed off her toned pins as she posed up a storm at the venue.
Alongside the post, she penned: Friday Night done and dusted @glastofest @bbcglasto.
'So many outstanding performances tonight - from @selfesteemselfesteem to @wetlegband @biffy_clyro to @cmatbaby @bustarhymes @envoguemusic Lots more besides.
'All there for you to enjoy on @bbciplayer I'm glad lots of you love this @thecure T-shirt as much as I do.
'I'm afraid it's an oldie that I've had for probably three decades. Nice to rediscover gems from the wardrobe and enjoy them all over again.'
Fans were quick to take to social media to share their delight over Jo back on their screens, as they also gushed over her ageless looks and sensational style.
They said: 'Wow, you're amazing! What's the secret to ageing backwards rather than forwards? and those legs! X';
'You look phenomenal!!'; 'You just don't age ! Looking utterly fabulous'; 'You look incredible & still in your 30s'; 'Getting younger every year.'
'You look 35! You are so stylish.'
This time last year, Jo breathed a sigh of relief as she completed another year presenting Glastonbury, after losing her voice.
The presenter lost her voice just two hours into the five-day festival but continued to soldier through - despite BBC viewers expressing their concern.
Fans couldn't get over how Jo appeared to have barely aged, with many taking to the comments to gush over her appearance
Jo took to Instagram to summarise her experience and praised the festival medic for helping her to continue in her role as Glastonbury host, which she has held since 1997.
The Radio DJ wrote: 'Oh My!! Glastonbury 2024 was a bit of a rollercoaster. Such happiness to be there and to be bringing the festival to you all as part of the @bbcglasto team.
'Something I will never take for granted and I hope you enjoyed watching. So much joy and talent on those stages. The next week will be divided between watching all the performances on @bbciplayer and @wimbledon.
'Losing my voice two hours after arriving at Glastonbury was NOT what I expected and made things a *bit* tricky & I'm so grateful to everyone for the advice, remedies and honey & lemon. Special mention to Jim the festival medic who came to my rescue yesterday mid radio show!
'Saw two of my kids for a quick squeeze which was heaven and have seen photographic evidence that the whole WM crew & friends covered most corners of the festival. Not so much looking forward to the post-Glasto blues and laundry… anyone else??!!!
'Special thanks to my Glasto radio & TV family for your hard work, love, support, producing, co-ordinating, driving, face painting & dressing up.'
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
The Guardian
7 minutes ago
- The Guardian
Mosh pits and mayhem: Kneecap play Glastonbury
In one of the most anticipated performances of the weekend so far, Northern Irish rap trio took to a very full West Holts amid controversy after the BBC refused to broadcast their show live
The Guardian
38 minutes ago
- The Guardian
Kneecap at Glastonbury review – sunkissed good vibes are banished by rap trio's feral, furious flows
It is perhaps worth recalling Kneecap's appearance at last year's Glastonbury, a lunchtime set in the Woodsies tent that saw the band widely acclaimed as bringers of boozy, edgy hilarity, complete with songs called Get Your Brits Out and Rhino Ket. Twelve months and some provocative onstage comments about Palestine and Conservative MPs later, they're both folk devil and cause celebre, whose appearance at the festival is the most hotly debated of 2025 – both the prime minister and the leader of the opposition have had strong opinions about it. It's a perfect example of how quickly stories can become overheated in the 21st century: vastly more people now have a opinion about Kneecap than have ever heard their music, which is, traditionally, a tricky and destructive position for a band to find themselves in. Invoking a name one probably shouldn't invoke under the circumstances, you might want to ask the surviving members of the Sex Pistols how that worked out for them. Still, the West Holts area is so packed, it has to be closed down to prevent a crush. The stage is barely visible for flags, most, but not all of them, Palestinian (there's still room for WE LIKE TO MOVE IT MOVE IT, SMITHY'S ON A BENDER and indeed I EAT ASS – THAT'S AMORE). Kneecap themselves seem happy to lean into the controversy: their appearance is preceded by a montage of voices condemning the band – Sharon Osbourne figures heavily – and much booing from the audience. Their ongoing travails are regularly referenced – 'everyone in that fucking tent agreed with me', protests Mo Chara (real name Liam Óg Ó hAnnaidh) about the Coachella appearance that intensified the whole business. Bandmate Móglaí Bap suggests that the audience should attend Ó hAnnaidh's forthcoming court hearing – he's been charged with what Bap calls a 'trumped up' terrorism-related offence for allegedly displaying a Hezbollah flag at a London gig, for which Mo Chara has been unconditionally bailed – and 'start a riot outside the courts … the Daily Mail will love that! Fuck the Daily Mail! Fuck Keir Starmer!' The latter is among a longer list of enemies that also includes Rod Stewart, who's made the impressively ballsy choice to preface his Glastonbury appearance with an expression of support for Nigel Farage. It's probably too late to say that it would be a shame if said controversy completely drowned out Kneecap's actual music, but the point stands. Behind the furore, the trio are really good at what they do. Chara and Bap are impressive rappers – raw-throated but dextrous, far funnier than you might expect if the only stuff you heard about Kneecap revolved around recent events. And live, their sound comes into its own, a fizzing stew with a bassy intensity that has a hint of the Prodigy about it: Fine Art's sudden lurches from dubstep to four-to-the-floor pounding; Get Your Brits Out's warped take on classic Chicago house. As the crowd break into circle pits and moshing, with a degree of encouragement from the band, it feels genuinely exciting, a feral moment in a festival that's thus far tended towards sunkissed good vibes. What happens next – whether Kneecap's ongoing notoriety turns out to be a brief flashpoint, something more lasting, or indeed ultimately the undoing of them – remains to be seen. For now, for this audience, they are triumphant.
Times
an hour ago
- Times
Why the A-list love Bella Freud's couch
Bella Freud is a fashion designer, the daughter of a famous portraitist (Lucian) and the great-granddaughter of the founding father of psychoanalysis (Sigmund). Her podcast Fashion Neurosis with Bella Freud knowingly draws on this background. In each episode she invites a well-known guest to sit for her — or actually, lie on her couch, as if in a therapy session — then asks them about their lifelong relationship with clothes as a way into bigger themes. It is a strong format, instantly conferring structure and intimacy. Clothes can offer our first shot at self-expression and have a transformative, talismanic effect. But outfits can be what we hide behind too. Even celebrated beauties, you learn here, lack confidence and have complex relationships with their bodies. Freud, who has been in analysis for years, makes tongue-in-cheek nods to the therapy process. This is a visualised podcast, one of the few that might merit watching over just listening: Freud sets her stage stylishly, with precise attention to details like lighting. Each episode begins with the client being buzzed into Freud's consulting room. A metronome or old-fashioned clock ticks. Moody piano music plays. The camera lingers over arresting black-and-white portraits, among them a teenage Bella with her father.
