What time is Rod Stewart playing at Glastonbury today and who are his guests?
Sir Rod Stewart is set to take to the Pyramid Stage at Glastonbury for the festival's coveted teatime legend slot today.
The Maggie May and Sailing singer, 80, has overcome his recent illness to celebrate six decades in the industry with a selection of greatest hits for the assembled crowd and audience at home.
And with six number one singles and ten number one albums in the UK under his belt, millionaire hitmaker Sir Rod certainly has a lot to pack in.
It's difficult because they only gave me an hour-and-a-quarter slot. So I begged them: can I do another 15 minutes?' he told Radio Times of the packed set list.
'Because usually I play for two hours. It means that there's a lot of songs that people love that I won't be able to play. And I've got three guests coming on.'
But who's Sir Rod bringing with him – and what time is he playing at Glastonbury?
Sir Rod will play at the Pyramid Stage today (Picture: Getty Images)
What time is Rod Stewart on at Glastonbury?
Sir Rod will play at the Pyramid Stage today from 15:45 to 17:15, following performances from The Selecter, Celeste and The Libertines.
Following his 90-minute performance, Nile Rogers andChic will play from 18:00 to 19:00, then Noah Kahan at 19:45.
Headline act Olivia Rodrigo will finish the day off with her performance at 21:45, with a set list which is expected to contain hits deja vu, good for u and traitor.
Rod previously confirmed that he'll be joined by Faces bandmate Ronnie Wood (Picture: Getty Images)
Who is joining Rod Stewart on stage?
The singer is expected to bring three guests with him for the set, previously confirming that he'll be joined by Faces bandmate and Rolling Stones star Ronnie Wood.
As for the other two guests, he has teased that one will be Simply Red frontman Mick Hucknall, telling The Sun: 'Mick Hucknall and I are going to come up and sing She Was Only A Pilot's Daughter But She Kept Her Cockpit Clean.
'Only joking, he clarified. 'We are going to sing If You Don't Know Me By Now. And then Lulu is coming on.'
If true, that means fans can expect Sir Rod to be joined by Ronnie, Mick and Scottish singer/songwriter Lulu.
Sir Rod hinted that audiences can expect an appearance from Mick Hucknall (Picture: Getty Images)
Lulu's coming too! (Picture: Redferns)
What are some of Rod Stewart's most famous songs?
In the run-up to his Glastonbury set, Sir Rod has released his Ultimate Hits album, which contains each of his six number one singles.
These iconic tunes consist of Maggie May (1971), You Wear It Well (1972), Sailing (1972), I Don't Want to Talk About It (1975), The First Cut Is the Deepest (1976), Do Ya Think I'm Sexy? (1978) and Baby Jane (1983).
With so much to get through, Sir Rod will likely be partaking in his usual gig routine of a 'gargle' of rum and coke.
'The vocal cords need a lot of looking after. I mean, they're absolute gold. I warm up for an hour, warm down for half an hour. And when I feel I'm losing my voice, I go into what they call 'voice rest' and wear a little card around my neck that says 'I can't talk. Don't talk to me,'' he revealed.
Sir Rod has come out as a supporter of Reform leader Nigel Farage (Picture:Getty Images)
Why are people booing Sir Rod Stewart at Glastonbury?
Sir Rod sparked outrage from a certain corner of his fanbase this weekend by announcing his support for Nigel Farage.
With some fans already horrified by this endorsement of the controversial politician, Irish rappers Kneecap poked fun by asking their audience if anyone 'was going to see Rod Stewart tomorrow?'
The audience erupted into spontaneous boos at mention of his name, as Liam Óg Ó hAnnaidh (stage name Mo Chara) joked: 'He's older than Israel.'
Social media users echoed the sentiment, with Anthony58340236 writing on X: 'Do the right thing and boo Rod Stewart off the stage.'
'I sincerely hope Glastonbury make their feeling known and boo Rod Stewart off the stage!' wrote bobrmitchell.
The singer has lashed out at the 'teatime legend' label (Picture: Shutterstock)
He may be a living legend, but Sir Rod isn't all too keen on the 'teatime' part of the billing.
'I just wish they wouldn't call it the tea time slot,' he said to the BBC.
'That sounds like pipe and slippers, doesn't it?'
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Arrow MORE: Streeting tells Israel 'get your own house in order' over Glastonbury criticism
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Scotsman
10 hours ago
- Scotsman
is it still a metal classic or has it aged like milk?
This article contains affiliate links. We may earn a small commission on items purchased through this article, but that does not affect our editorial judgement. Has Fear Factory's Demanufacture stood the test of time or, as the prosecution accuse, become a 'flimsy structure' for metal to follow? Sign up to our daily newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to Edinburgh News, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Fear Factory's 1995 album Demanufacture is widely considered a landmark in metal, but its legacy remains fiercely debated. Accusations range from being overly mechanistic and cold to lacking the warmth and organic feel of traditional metal Is it a pioneering work guilty of derailing a genre, or is it a misunderstood masterpiece deserving of a dramatic re-evaluation? Today, we convene in the solemn chambers of public opinion to preside over a musical case that, while critically lauded in its time, has since been subjected to scrutiny, mischaracterisation, and perhaps, a failure to fully grasp its true impact. On trial: Demanufacture by Fear Factory, a 1995 release that arrived with the force of a hydraulic press, forging a path between industrial coldness and metallic brutality. Often cited as a pioneering work, it has also faced criticisms of being too rigid, too mechanical, and even, by some, too influential in ways that led to less desirable offshoots. Advertisement Hide Ad Advertisement Hide Ad The defence, however, believes there is compelling evidence for its enduring genius and rightful place as a monumental achievement in heavy music. Before we delve into today's proceedings, let us set the scene. Is Fear Factory's Demanufacture a work of art, or is it merely a work of 'calculated aggression?' | Getty Images/Canva In the mid-1990s, the landscape of heavy music was in flux. Metal, in its traditional forms, was still powerful, but new hybrids were emerging, challenging conventions and setting the stage for what would become one of the decade's most defining, and often divisive, sounds: nu-metal. It was into this fertile, yet volatile, ground that Fear Factory emerged. Formed in Los Angeles in 1989, Fear Factory quickly distinguished themselves from their peers. Comprised of vocalist Burton C. Bell, guitarist Dino Cazares, bassist Christian Olde Wolbers, and drummer Raymond Herrera, the band forged a unique sound that relentlessly fused industrial machine-like precision with death metal's aggression and groove metal's rhythmic drive. Advertisement Hide Ad Advertisement Hide Ad They built a reputation for pioneering a distinct rhythmic assault, often employing blast beats, double bass drumming, and heavily palm-muted guitar riffs that sounded more like percussive machinery than traditional shredding. Their lyrical themes, consistently exploring the uneasy relationship between man and machine, technology and humanity, carved out a distinct conceptual identity that resonated with a generation grappling with the digital age. It was in 1995 that Fear Factory released their second studio album, Demanufacture. Upon its arrival, it was heralded by many as a ground-breaking work, a bold leap forward that redefined the boundaries of extreme music. However, over the years, Demanufacture has become a subject of considerable controversy and debate. While praised for its innovation and brutal efficiency, it has also been accused of being cold, sterile, and overly mechanical, with critics questioning its emotional depth and whether its influential sound inadvertently paved the way for more simplistic and less organic forms of metal. Advertisement Hide Ad Advertisement Hide Ad To truly analyse its impact and legacy – and to confront these long-standing accusations – we are today putting Demanufacture on 'musical trial' in the court of public opinion. Let the proceedings begin. In defence of: Fear Factory - Demanufacture The Charge The album, Demanufacture by Fear Factory, stands accused of being a sterile, overly mechanistic, and emotionally cold blueprint for a wave of metal that prioritised rhythm and aggression over organic feel and nuanced musicianship, ultimately contributing to a perceived dehumanisation of the genre. The Prosecution Ladies and gentlemen of the jury, we are presented today with an album that, on the surface, might appear to be a marvel of precision and force. Indeed, upon its release, Demanufacture was met with considerable acclaim. But I submit to you that this very precision, this relentless, machine-gun rhythm, this calculated coldness, is precisely its greatest sin. The evidence will demonstrate that Demanufacture, for all its apparent innovation, presented a stark, almost unfeeling vision of metal. The drumming, while undeniably fast, often felt more like a programmed beat than the fluid expression of a human hand. Advertisement Hide Ad Advertisement Hide Ad As one reviewer noted regarding drummer Raymond Herrera's work, it's "precision machine gun fire drum work," often raising questions of "whether his drum work is not redone to some extent with studio magic, because it is totally mind blowing, despite the fact that he rarely touches his cymbals." This "machine-like" quality, while impressive, sacrifices the organic warmth of human performance. The guitar riffs, precise and percussive, largely eschewed the melodic complexity and dynamic range that defined earlier eras of metal, reducing the instrument to a rhythmic hammer. Critics have pointed out that Demanufacture "doesn't try to wow you with high-pitched vocals or blazing guitar solos as this album features absolutely none of that." This minimalist approach to traditional metal elements, while a deliberate choice, stripped away much of the expressive freedom cherished by purists. Even the vocals, while shifting between guttural roars and clean, almost ethereal melodies, often contributed to an unsettling dichotomy rather than a cohesive emotional landscape, with some finding the clean vocals "somewhat off key" at times Advertisement Hide Ad Advertisement Hide Ad We contend that this album, by "prioritising mechanisation over human elements" [paraphrased from general criticism], laid the groundwork for a future where metal became less about fiery passion and more about calculated aggression, paving the way for bands that would imitate its mechanical precision without capturing its conceptual ambition. It streamlined, it systematised, it... de-manufactured the very soul of heavy music, leading to a sound that, "while powerful, often sounded very lifeless when compared to their later work" and "very compressed by today's standards." It set a precedent for a sound that, in less capable hands, often became predictable, repetitive, and ultimately, devoid of the human element. The defence may speak of innovation, but we will show you an album that, despite its power, ultimately sacrificed warmth and humanity for the cold, unyielding embrace of the machine. This album, we contend, is guilty of establishing a blueprint that, while powerful, often led metal astray. Advertisement Hide Ad Advertisement Hide Ad The defence Members of the court of public opinion, I appreciate the arguments that the Prosecution has levied against the album, but I remind them of the state of metal at the time. This was in 1995, where the metal genre was just on the cusp of breaking into mainstream avenues through acts such as Korn, Limp Bizkit, and in later years, Linkin Park. Where some groups might have changed their formula to reflect the change in trends, I argue that Fear Factory "evolved" their sound not simply to be accessible for newer fans of the genre, but to ensure they did not alienate older fans of their industrial style. Demanufacture indeed sounds emotionally cold and lacks organic warmth; but that is precisely the point of the album. It's a meticulously crafted concept album about a man's struggles against a machine-controlled government, with each song a chapter in his life. As the band themselves stated, the album took its inspiration from the movie The Terminator, and within that context, the 'stark, unfeeling' nature of the album and lack of organic warmth is not a flaw, but a deliberate and essential artistic choice. This is an album that is meant to evoke emotions of technology taking over organic matter, and thus had to prioritise mechanisation over human elements. Not just that, but the very nature of industrial metal lends itself to having a cold, mechanical resonance to it, and I point to the likes of Nine Inch Nails or Godflesh as previous evidence of this aesthetic being central to the genre. Advertisement Hide Ad Advertisement Hide Ad The charges of being lifeless and compressed, giving it a powerful, suffocating feel, are exactly the kind of emotions Fear Factory looked to evoke with the work. Again, members of the court, this is a concept album about technology taking over. The relentless, percussive guitaring perfectly compliments the blunt force nature of the drumming, giving listeners such as myself vivid images of mechanical presses, whirling machinery, and cold, metallic elements as part of the story's chilling narrative. This wasn't a flaw; it was a masterful sonic design choice that immersed the listener in the album's dystopian vision. As for the charge against Burton C. Bell's vocals, his performance perfectly embodies the album's themes of man versus machine. What the Prosecution labels as "off-key" is, I submit, an unfair and superficial judgment. The stark contrast between the desperate, vulnerable human element of Bell's clean singing and the cold, almost automated yells, demonstrates the harrowing duality of the album's core concept. Advertisement Hide Ad Advertisement Hide Ad It's the sound of humanity struggling for breath against an overwhelming, artificial perfection, and in many respects, a chilling premonition of what life, according to Demanufacture, has become. This vocal interplay isn't a weakness; it's a dynamic storytelling device, full of nuanced emotion that transcends simple melody. Furthermore, to label Demanufacture as a "harmful blueprint" that led metal "astray" is to fundamentally misunderstand its pioneering spirit. This album was not simply following trends; it was very much steadfast in the industrial metal blueprint, while expertly borrowing from the burgeoning groove metal scene that was popular at the time. That it didn't lead metal "astray" should be more of a testament to the importance of the record across the metal genre, rather than dismissing it as building "flimsy structures" going forwards. It's not Fear Factory's fault if other artists were inspired, influenced, or outright cribbed from them and produced second-rate imitations—much like it is unfair to blame The Beatles for a "flimsy structure" regarding the raft of British pop acts that followed them or an act like The Libertines being accused of laying a formula for what has been called these days as 'landfill indie.' True innovation, like that found on Demanufacture, always risks inspiring lesser imitations. This album's influence should be celebrated, not condemned, for opening new sonic pathways in heavy music. I rest my case, your honour(s) Advertisement Hide Ad Advertisement Hide Ad What is your verdict on Fear Factory's 1995 album Demanufacture? Share if you're for or against the album by leaving a comment down below, and catch Fear Factory when they peform at Bloodstock Open Air 2025 in August 2025.
Scotsman
12 hours ago
- Scotsman
is it still a metal classic or has it aged like milk?
This article contains affiliate links. We may earn a small commission on items purchased through this article, but that does not affect our editorial judgement. Has Fear Factory's Demanufacture stood the test of time or, as the prosecution accuse, become a 'flimsy structure' for metal to follow? Sign up to our Arts and Culture newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to The Scotsman, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... Fear Factory's 1995 album Demanufacture is widely considered a landmark in metal, but its legacy remains fiercely debated. Accusations range from being overly mechanistic and cold to lacking the warmth and organic feel of traditional metal Is it a pioneering work guilty of derailing a genre, or is it a misunderstood masterpiece deserving of a dramatic re-evaluation? Today, we convene in the solemn chambers of public opinion to preside over a musical case that, while critically lauded in its time, has since been subjected to scrutiny, mischaracterisation, and perhaps, a failure to fully grasp its true impact. On trial: Demanufacture by Fear Factory, a 1995 release that arrived with the force of a hydraulic press, forging a path between industrial coldness and metallic brutality. Often cited as a pioneering work, it has also faced criticisms of being too rigid, too mechanical, and even, by some, too influential in ways that led to less desirable offshoots. Advertisement Hide Ad Advertisement Hide Ad The defence, however, believes there is compelling evidence for its enduring genius and rightful place as a monumental achievement in heavy music. Before we delve into today's proceedings, let us set the scene. Is Fear Factory's Demanufacture a work of art, or is it merely a work of 'calculated aggression?' | Getty Images/Canva In the mid-1990s, the landscape of heavy music was in flux. Metal, in its traditional forms, was still powerful, but new hybrids were emerging, challenging conventions and setting the stage for what would become one of the decade's most defining, and often divisive, sounds: nu-metal. It was into this fertile, yet volatile, ground that Fear Factory emerged. Formed in Los Angeles in 1989, Fear Factory quickly distinguished themselves from their peers. Comprised of vocalist Burton C. Bell, guitarist Dino Cazares, bassist Christian Olde Wolbers, and drummer Raymond Herrera, the band forged a unique sound that relentlessly fused industrial machine-like precision with death metal's aggression and groove metal's rhythmic drive. Advertisement Hide Ad Advertisement Hide Ad They built a reputation for pioneering a distinct rhythmic assault, often employing blast beats, double bass drumming, and heavily palm-muted guitar riffs that sounded more like percussive machinery than traditional shredding. Their lyrical themes, consistently exploring the uneasy relationship between man and machine, technology and humanity, carved out a distinct conceptual identity that resonated with a generation grappling with the digital age. It was in 1995 that Fear Factory released their second studio album, Demanufacture. Upon its arrival, it was heralded by many as a ground-breaking work, a bold leap forward that redefined the boundaries of extreme music. However, over the years, Demanufacture has become a subject of considerable controversy and debate. While praised for its innovation and brutal efficiency, it has also been accused of being cold, sterile, and overly mechanical, with critics questioning its emotional depth and whether its influential sound inadvertently paved the way for more simplistic and less organic forms of metal. Advertisement Hide Ad Advertisement Hide Ad To truly analyse its impact and legacy – and to confront these long-standing accusations – we are today putting Demanufacture on 'musical trial' in the court of public opinion. Let the proceedings begin. In defence of: Fear Factory - Demanufacture The Charge The album, Demanufacture by Fear Factory, stands accused of being a sterile, overly mechanistic, and emotionally cold blueprint for a wave of metal that prioritised rhythm and aggression over organic feel and nuanced musicianship, ultimately contributing to a perceived dehumanisation of the genre. The Prosecution Ladies and gentlemen of the jury, we are presented today with an album that, on the surface, might appear to be a marvel of precision and force. Indeed, upon its release, Demanufacture was met with considerable acclaim. But I submit to you that this very precision, this relentless, machine-gun rhythm, this calculated coldness, is precisely its greatest sin. The evidence will demonstrate that Demanufacture, for all its apparent innovation, presented a stark, almost unfeeling vision of metal. The drumming, while undeniably fast, often felt more like a programmed beat than the fluid expression of a human hand. Advertisement Hide Ad Advertisement Hide Ad As one reviewer noted regarding drummer Raymond Herrera's work, it's "precision machine gun fire drum work," often raising questions of "whether his drum work is not redone to some extent with studio magic, because it is totally mind blowing, despite the fact that he rarely touches his cymbals." This "machine-like" quality, while impressive, sacrifices the organic warmth of human performance. The guitar riffs, precise and percussive, largely eschewed the melodic complexity and dynamic range that defined earlier eras of metal, reducing the instrument to a rhythmic hammer. Critics have pointed out that Demanufacture "doesn't try to wow you with high-pitched vocals or blazing guitar solos as this album features absolutely none of that." This minimalist approach to traditional metal elements, while a deliberate choice, stripped away much of the expressive freedom cherished by purists. Even the vocals, while shifting between guttural roars and clean, almost ethereal melodies, often contributed to an unsettling dichotomy rather than a cohesive emotional landscape, with some finding the clean vocals "somewhat off key" at times Advertisement Hide Ad Advertisement Hide Ad We contend that this album, by "prioritising mechanisation over human elements" [paraphrased from general criticism], laid the groundwork for a future where metal became less about fiery passion and more about calculated aggression, paving the way for bands that would imitate its mechanical precision without capturing its conceptual ambition. It streamlined, it systematised, it... de-manufactured the very soul of heavy music, leading to a sound that, "while powerful, often sounded very lifeless when compared to their later work" and "very compressed by today's standards." It set a precedent for a sound that, in less capable hands, often became predictable, repetitive, and ultimately, devoid of the human element. The defence may speak of innovation, but we will show you an album that, despite its power, ultimately sacrificed warmth and humanity for the cold, unyielding embrace of the machine. This album, we contend, is guilty of establishing a blueprint that, while powerful, often led metal astray. Advertisement Hide Ad Advertisement Hide Ad The defence Members of the court of public opinion, I appreciate the arguments that the Prosecution has levied against the album, but I remind them of the state of metal at the time. This was in 1995, where the metal genre was just on the cusp of breaking into mainstream avenues through acts such as Korn, Limp Bizkit, and in later years, Linkin Park. Where some groups might have changed their formula to reflect the change in trends, I argue that Fear Factory "evolved" their sound not simply to be accessible for newer fans of the genre, but to ensure they did not alienate older fans of their industrial style. Demanufacture indeed sounds emotionally cold and lacks organic warmth; but that is precisely the point of the album. It's a meticulously crafted concept album about a man's struggles against a machine-controlled government, with each song a chapter in his life. As the band themselves stated, the album took its inspiration from the movie The Terminator, and within that context, the 'stark, unfeeling' nature of the album and lack of organic warmth is not a flaw, but a deliberate and essential artistic choice. This is an album that is meant to evoke emotions of technology taking over organic matter, and thus had to prioritise mechanisation over human elements. Not just that, but the very nature of industrial metal lends itself to having a cold, mechanical resonance to it, and I point to the likes of Nine Inch Nails or Godflesh as previous evidence of this aesthetic being central to the genre. Advertisement Hide Ad Advertisement Hide Ad The charges of being lifeless and compressed, giving it a powerful, suffocating feel, are exactly the kind of emotions Fear Factory looked to evoke with the work. Again, members of the court, this is a concept album about technology taking over. The relentless, percussive guitaring perfectly compliments the blunt force nature of the drumming, giving listeners such as myself vivid images of mechanical presses, whirling machinery, and cold, metallic elements as part of the story's chilling narrative. This wasn't a flaw; it was a masterful sonic design choice that immersed the listener in the album's dystopian vision. As for the charge against Burton C. Bell's vocals, his performance perfectly embodies the album's themes of man versus machine. What the Prosecution labels as "off-key" is, I submit, an unfair and superficial judgment. The stark contrast between the desperate, vulnerable human element of Bell's clean singing and the cold, almost automated yells, demonstrates the harrowing duality of the album's core concept. Advertisement Hide Ad Advertisement Hide Ad It's the sound of humanity struggling for breath against an overwhelming, artificial perfection, and in many respects, a chilling premonition of what life, according to Demanufacture, has become. This vocal interplay isn't a weakness; it's a dynamic storytelling device, full of nuanced emotion that transcends simple melody. Furthermore, to label Demanufacture as a "harmful blueprint" that led metal "astray" is to fundamentally misunderstand its pioneering spirit. This album was not simply following trends; it was very much steadfast in the industrial metal blueprint, while expertly borrowing from the burgeoning groove metal scene that was popular at the time. That it didn't lead metal "astray" should be more of a testament to the importance of the record across the metal genre, rather than dismissing it as building "flimsy structures" going forwards. It's not Fear Factory's fault if other artists were inspired, influenced, or outright cribbed from them and produced second-rate imitations—much like it is unfair to blame The Beatles for a "flimsy structure" regarding the raft of British pop acts that followed them or an act like The Libertines being accused of laying a formula for what has been called these days as 'landfill indie.' True innovation, like that found on Demanufacture, always risks inspiring lesser imitations. This album's influence should be celebrated, not condemned, for opening new sonic pathways in heavy music. I rest my case, your honour(s) Advertisement Hide Ad Advertisement Hide Ad
The Independent
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