logo
Glastonbury 2025, by the numbers, from the cows to toilets to pints to, yes, the music

Glastonbury 2025, by the numbers, from the cows to toilets to pints to, yes, the music

LONDON (AP) — This week, thousands of music lovers from across the U.K. and beyond will flock to a farm in the southwest of England for the legendary Glastonbury Festival of Contemporary Performing Arts. But just how many?
Find out in this guide to Glastonbury — and all of its quirks — by the numbers.
210,000: Full capacity of the festival
The festival's current license allows up to 210,000 people on-site, including fans, staff and performers — but, this year, a few thousand fewer tickets have been sold, to avoid overcrowding.
The closest village of Pilton has a population of around 1,000 people. During the festival, though, the area becomes the seventh-largest largest city in the U.K. (more than double that of nearby Bath, which has a population of around 94,000).
1,200,000: Pints of beer stocked across more than 100 bars
Brooklyn Brewery's
pilsner has been the official beer of Glastonbury since 2023, keeping festivalgoers well lubricated. This year, they are preparing more than 1.2 million pints of lager for a hot and thirsty crowd. That's equivalent to two standard-size swimming pools.
And that's despite Glastonbury's B.Y.O. standing, unique at British music festivals where bringing alcohol in from the outside is usually prohibited. At Glastonbury, if you can carry it, you can drink it, and it's not uncommon to see wheelbarrows and small trailers being pulled into campsites with a weekend's worth of supplies of food and drink.
120,000: Largest-ever crowd for one set
The headliners on the iconic Pyramid Stage traditionally attract the biggest crowds, and
Elton John's
2023 farewell gig attracted more than 120,000 fans as he closed the festival. Paul McCartney pulled in more than 100,000 festivalgoers for his headlining Saturday night set in 2022.
4,000: Number of toilets
As well as standard portable toilets, the more than 4,000 toilets include the infamous 'long drops' — lockable, open-air toilets set up on high with a huge concrete gutter around 10 feet (3 meters) below (looking down not recommended) and 'compost loos,' with a bin of sawdust located outside to scoop and scatter over your business. There are also both men's and women's urinals for a speedy pee!
By contrast, there are scarce few public showers. Organizers instead recommend a 'good ol' fashioned stripwash and making do.'
3,972: Performers across 120 stages this year
This year's headliners are English indie rockers The 1975 on Friday, Canadian-American singer-songwriter Neil Young on Saturday and American pop star Olivia Rodrigo closing on Sunday. But if that's not your thing, there are 3,969 other acts to choose from.
35: Minutes it took for 2025 tickets to sell out
Tickets for this year went on sale in November 2024, more than 6 months before a single performer was announced, yet the general admission tickets sold out in 35 minutes. The resale round in April saw remaining tickets sell out in just 20 minutes.
1970: Glastonbury's birth year
This does not mean this week is the 55th edition though, as traditionally the festival takes a fallow year roughly every five years to allow the farmland to recover. The last official fallow year was 2018, but the festival's 50th anniversary in 2020 and the following year's edition
were canceled
because of the coronavirus pandemic.
If you're considering making Glasto plans for next year, don't bother: 2026 is a fallow year.
1,000: Acres constituting the festival's site
This is equivalent to 500 soccer pitches or approximately 733 standard American football fields. That makes it the world's largest greenfield music and arts event.
1,000: Cows living on the farmland
The rest of the year, that is — the humans and the cows don't cohabitate during the festival. Worthy Farm, where the festival is held, is a working farm with 500 milking cows and 500 young stock. During the festival,
organizer Michael Eavis
sends the dairy cows for a short stay at the Glastonbury 'Moo-tel,' a large shed based away from the action, while the rest go off to graze further afield.
400: Food stalls
The more than 400 stalls go well beyond the traditional festival burger, offering just about every type of global cuisine you can imagine. Plus the Brits love a 'meal deal' (a combo of a main meal and a drink or side dish) and Glastonbury is no exception with 6-pound (roughly $8) meal deals offered across the site to keep things affordable.
30: Arrests made in 2024
Twenty-one of these were for drug-related offenses, but the festival retains a low crime rate overall.
8: Kilometers around the perimeter fence
A 'Super Fortress Fence' was installed in 2002. Before this, there were tens of thousands of gate-crashers every year. Some jumped the fence, while others tunneled under, 'Great Escape' style. Eavis installed the impenetrable fence after he was fined in 2000 for breaching licensing conditions.
5: Days the festival site is open for business
Ticket holders can get access starting 8 a.m. Wednesday to pitch their tents and
bag the best spots.
While there is entertainment and music over the first few days, the main stages start up on Friday morning and run through Sunday night. All festivalgoers must leave by 5 p.m. Monday, when the site officially closes.
5: Most headlining appearances of any band
Coldplay
has headlined the Pyramid Stage a record five times. They first topped the bill in 2002, followed by 2005, 2011, 2016 and, most recently, 2024. Arctic Monkeys, Muse and Radiohead are among an elite group of artists who have headlined three times.
3: Banned items that may surprise you
Among the list of banned items you might expect, including narcotics, weapons and fireworks, are the less assuming Chinese lanterns, body glitter and gazebos. The first two are verboten because of environmental concerns — a couple cows have died from ingesting the remnants of a Chinese lantern! — while a
sudden rash of gazebos
would take up too much space in the busy campsites.
0: Number of plastic bottles sold on-site
Glastonbury banned
single-use plastic
in 2019, installing more drinking water fountains around the site and encouraging festivalgoers to bring reusable bottles — for water or some other liquid of choice, of course.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Olivia Rodrigo leaves Glastonbury on a high
Olivia Rodrigo leaves Glastonbury on a high

Yahoo

time24 minutes ago

  • Yahoo

Olivia Rodrigo leaves Glastonbury on a high

Glastonbury saved the best 'til last, with a triumphant set by American star Olivia Rodrigo to close the festival's Pyramid Stage. After the artifice and intensity of previous headliners The 1975 and Neil Young, the 22-year-old stomped her way through a series of crisp, punk-pop anthems and heartfelt ballads about the injustices of young love. She charmed her English fans by professing her love for Marks and Spencers' Colin The Caterpillar sweets; and won over Glastonbury veterans by duetting with The Cure's Robert Smith ("perhaps the best songwriter to come out of England"). "Glastonbury's been my dream festival forever and I can't believe today's the day," she beamed. The set was a crowning moment for the singer, who only released her first single, Drivers License, five years ago. A desperate cry of loneliness, the ballad broke Spotify streaming records in just 24 hours. Then it broke them again. Seven days later, it entered the UK and the US charts at number one, instantly catapulting the singer from Disney actress to fully-fledged pop star. Drivers License cast her as "the sad piano girl" in the public imagination - but she quickly deconstructed that image with a flurry of dynamic, guitar-heavy pop anthems that built on the templates established by Joan Jett, Alanis Morisette and Avril Lavigne. It was those sounds that opened her Glastonbury set, with the crunchy riffs of Obsessed, a self-mocking song about her jealousy; and the semi-autobiographical Diary Of A Homeschooled Girl. Dressed in a white lace corset and knee-high bovver boots, she high-kicked across the stage, whipping the crowd into a frenzy. "How are we doing tonight Glastonbury," she screamed. "I don't think I've ever seen so many people in my life. "Guys, it's the last night of the festival. Are you ready to have some fun?" She undercut the question slightly by launching into Drivers License - but watching the army of young fans holler those lyrics back at her, there was a communal sense of catharsis, at least. The rest of the set balanced her competing impulses: rock chick, singer-songwriter, rabble rouser, strident feminist, heartfelt balladeer. But above all else, she's a music fan. Her decision to duet with Glastonbury veteran Robert Smith, rather than a pop contemporary like Harry Styles or Lorde, flowed directly from her love of 80s British pop. As they played The Cure classics Friday I'm in Love and Just Like Heaven, Rodrigo kept glancing over at Smith, beaming from ear to ear, like she couldn't believe her luck. She added little harmonies to the songs, embellishing without being disrespectful – and Smith seemed to be just as enamoured with Rodrigo as she was with him, watching the rest of her set from the wings of the Pyramid Stage. "He's the nicest, most wonderful man ever and I'm so honoured to play with him tonight," she gushed. That guilelessness worked in her favour. For the audience, it often felt like watching your cool older sister (or your precocious young daughter) up on stage, rather than some untouchable pop star. What's more, Rodrigo needed none of the usual pop star props. There was no choreography. Until the encore, there was only one costume. All she required were the songs and her pin-sharp, all-female band. She charmed the audience even more as she introduced the new wavey So American – a song about the inside jokes she shared with an English boyfriend. "I love England so much," she said. "I love how nobody judges you for having a pint at noon. I love English sweets, all the sweets from M&S, Colin the Caterpillar specifically. "True story: I have had three sticky toffee puddings since coming to Glastonbury. And as luck would have it, I love English boys." England loved her right back, saving their biggest reaction for her encore – a headlong rush through Brutal, All American Bitch, Good 4 U and Get Him Back. She left the stage under a downpour of fireworks, as inflatable balls bounced around the audience and our ears rang with feedback. It was, hands down, the best (and best-attended) headline set of the weekend. Olivia Rodrigo had understood the brief: Bring the hits. Make it unique. And make it personal. Perhaps she'd learned that from Jarvis Cocker, whom she'd watched from her boyfriend's shoulders on Saturday. "To enjoy Glastonbury, you have to submit to it," he advised. Rodrigo channeled that spirit innately. She's welcome back any time. Earlier on Sunday, The Selecter opened up the final day of music on the Pyramid Stage, with an energetic set of punchy ska anthems. Singer Pauline Black, a former NHS worker, dedicated Frontline to her colleagues, saying we'd thank them when we needed their help for "all those knees and all those hips in the not-so-distant future". And the crowd carried her through the band's biggest hit, On The Radio, as her voice cracked on the trilling high notes. "As you can tell, my voice is hurting," she explained. "Are you going to help me?" They didn't need asking twice. Celeste took our breath away with a grungier, angrier sound than the floaty jazz-soul of her debut. The singer, who won the BBC's Sound Of 2020, has taken five years to follow up her chart topping album, Not Your Muse, but told the audience "everything happens when it's supposed to". On the basis of Everyday - an excoriating, paranoid track built around Death In Vegas's 1999 dance hit Dirge - the new material has been worth the wait. Also previewing new material was London soul-pop singer Joy Crookes. Dressed in a striking pink and green sari, she sauntered through the bassy grooves of recent singles Pass The Salt and Carmen, coming across like a latter-day Amy Winehouse. The highlight of her set was the new single Perfect Crime - with a chorus so immaculate that the crowd had picked it up after one refrain. After an unexpectedly nostalgic set from The Libertines, Rod Stewart took to the Pyramid Stage in the prestigious "legend slot". In full lounge lizard style, he played big band arrangements of hits like Do Ya Think I'm Sexy, Maggie May and The First Cut Is The Deepest, full of bubbly blonde backing vocals and endless saxophone solos. Despite promising to "get in as many hits as I can", the set had a wobbly start, with a couple of lesser-known numbers. But he found his groove with 1984's Some Guys Have All The Luck, after which the jukebox served up hit after hit. Ronnie Wood came out for a chummy duet on the Faces' Stay With Me (an obvious highlight) before Stewart closed his set with a maritime singalong on We Are Sailing. He was followed by Nile Rodgers and Chic who, it has to be said, drew an even bigger crowd for their feel-good disco anthems. The song choices were faultless, ranging from Chic's Le Freak and Good Times, to the songs Rodgers produced for Bowie (Let's Dance, Modern Love) and Madonna (Like A Virgin, Material Girl) in the 80s. As they played, a biplane flew over the Pyramid Stage and drew a smiley face and a love heart in the sky. It couldn't have come at a better time. Over at the Woodsies stage, AJ Tracey gave a masterclass in crowd work. "I asked you for a mosh pit and I'm not gonna lie to you, it was weak," he scolded, promising to give the crowd something to really get their teeth into. At that point, Aitch burst onto the stage for the pair's 2020 collaboration, Rain. To say the energy ramped up would be an understatement on par with saying the surface of the sun is a little warm to the touch. The set continued with a clutch of UK rap anthems - Ladbroke Grove, Thiago Silva, Kiss and Tell - turning it into one of the weekend's sweatiest shows. Other standout sets on the festivals' final day included The Prodigy, who dedicated their set on The Other Stage to late frontman Keith Flint; and Jorja Smith, who provided a soothing set of British soul for the festival's more weary revellers. Wolf Alice delivered a crowd-pleasing cover of Fleetwood Mac's Dreams on The Other Stage, but it was their ode to friendship, Bros, that sent the audience into rapture. Old friends, best mates and new-found companions hugged each other and swayed deliriously to the song's "me and you" refrain. The band only played two songs from their highly-anticipated fourth album, The Clearing - but lead single Bloom Baby Bloom was treated like an old friend. The new material is more angular, more face-forward than their previous work; and lead singer Ellie Rowsell seemed to be enjoying her newfound confidence as a frontwoman. After the delicious love song The Sofa, she poured a bottle of water over her head, shook off the droplets, grabbed a megaphone and screamed out the lyrics to the band's two loudest, punkiest songs, Yuk Foo and Greatest Hits. Expect to see them at the top of the bill when Glastonbury returns in 2027. Rod Stewart at Glastonbury: Old school charm from another era What a night in Glasto's 'Naughty Corner' looks like Charli XCX, Neil Young and Scissor Sisters give Glastonbury goosebumps Glastonbury: The 1975 deliver a polished, but safe headline slot

Simon Wiesenthal Center Slams Glastonbury's 'Bland Response' To Bob Vylan's 'Death To The IDF' Chant
Simon Wiesenthal Center Slams Glastonbury's 'Bland Response' To Bob Vylan's 'Death To The IDF' Chant

Yahoo

timean hour ago

  • Yahoo

Simon Wiesenthal Center Slams Glastonbury's 'Bland Response' To Bob Vylan's 'Death To The IDF' Chant

Although Glastonbury and the BBC have condemned Bob Vylan's onstage comments at the England music festival, at least one Jewish human rights organization is not satisfied with the response. Jim Berk, CEO of the Simon Wiesenthal Center, called out both the festival and the network for providing a platform for the 'disgraceful' performance, in which Vylan led the crowd in chants of 'death to the IDF' and 'free Palestine.' More from Deadline Glastonbury Officials 'Appalled' By Bob Vylan's Anti-Israel 'Hate Speech' Chant From Stage BBC Slams 'Deeply Offensive' Glastonbury Set: 'We Have No Plans To Make It Available On Demand' BBC Avoids Kneecap But Live Streams Another Act Leading Crowd Chants Of "Death To The IDF" & "Free Palestine" 'It was sickening, dangerous and chillingly reminiscent of a modern-day Nazi rally,' said Berk, adding: 'It was public incitement, not performance. The explicit calls for violence against Jews, broadcast live by the BBC without interruption, literally gave hate a stage, a microphone, and the stamp of legitimacy of one of Britain's most respected public institutions.' Berk continued, 'And Glastonbury's bland response? Saying the chants merely 'crossed a line' and offering vague 'reminders' to artists is not accountability—it's cowardice. When confronted with explicit calls for violence against Jews, anything short of absolute condemnation and corrective action is complicity.' Referencing Hamas' October 2023 invasion of Israel's Nova music festival, where 378 were killed and 44 hostages were taken, Berk called the chants 'deeply re-traumatizing and terrifying.' 'This is a moment of reckoning. Festival organizers, media outlets, and artists must choose: will they be platforms for peace, or enablers of hate? Because silence is not neutrality, it is a green light for bigotry,' added Berk. 'Festivals must be prepared to halt performances that invoke hate; broadcasters must air festivals on deferred live and use their kill switch to take hate speech immediately off the air. Never again is not a slogan: It's a responsibility. And it's being betrayed on the world's biggest stages.' Following the performance, the BBC has decried the 'deeply offensive' set, which a spokesperson said they have 'no plans to make the performance available on demand.' A Glastonbury rep has said that organizers are 'appalled' by the chants, which 'very much crossed a line and we are urgently reminding everyone involved in the production of the Festival that there is no place at Glastonbury for antisemitism, hate speech or incitement to violence.' Best of Deadline 2025 TV Cancellations: Photo Gallery 2025 TV Series Renewals: Photo Gallery 2025-26 Awards Season Calendar: Dates For Tonys, Emmys, Oscars & More

Yungblud Storms to Third Consecutive U.K. No. 1 Album With ‘Idols'
Yungblud Storms to Third Consecutive U.K. No. 1 Album With ‘Idols'

Yahoo

timean hour ago

  • Yahoo

Yungblud Storms to Third Consecutive U.K. No. 1 Album With ‘Idols'

Yungblud has scored his third consecutive No. 1 on the U.K.'s Official Albums Chart with his ambitious double LP Idols (June 27). The British rocker, real name Dominic Harrison, hit the top spot in 2020 with Weird! and again in 2022 with his self-titled third album. His 2019 EP The Underrated Youth peaked at No. 6. The record will be released in two parts, with the street date for the second part of Idols yet to be confirmed. More from Billboard Florence Pugh Stars in Yungblud's Emotional Video for New Single 'Zombie': Watch Paul Simon Cancels Philadelphia Concerts Due to Back Pain, Will Undergo 'Minor Medical Procedure' Olivia Rodrigo & Ed Sheeran Perform 'The A Team' in Surprise London Duet Following the release of Idols, Harrison headlined his Bludfest festival in Milton Keynes, England, last Saturday (June 21) for a second consecutive year. He was joined by Billy Idol during the headline set, with a supporting bill including Blackbear, Denzel Curry and more. Recent Billboard U.K. cover star Loyle Carner's hopefully ! ends the week at No. 2, his highest-ever spot. His previous peak was with 2022's hugo which landed at No. 3. On Friday evening, he headlined The Other Stage at Glastonbury Festival alongside Charli XCX and The Prodigy; Olivia Rodrigo, Neil Young and The 1975 will top the main Pyramid Stage. Haim's I Quit hits the top five, finishing the week at No. 3. I Quit follows their previous album releases, 2014's Days Are Gone (No. 1), 2017's Something To Tell You (No. 2) and 2020's Women In Music Pt III (No. 1). Benson Boone hits a new career peak with his second studio album, American Heart, closing at No. 4. His debut LP, Fireworks & Rollerblades (2023) — which features mega-hit 'Beautiful Things' — peaked at No. 16. Elsewhere in the top 40, there's debuts for Aitch's 4 (No. 7), and Sheffield heavy metal band Maleovolence's Where Only the Truth Is Spoken (No. 32). Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Four Decades of 'Madonna': A Look Back at the Queen of Pop's Debut Album on the Charts Chart Rewind: In 1990, Madonna Was in 'Vogue' Atop the Hot 100

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store