Glastonbury Festival - The Madness
Glastonbury Travel Blog› entry 4 of 5 › view all entries
June 25th, 2005 – by: Isabetlog
I made my way through the Dance Village, home to four stages catering to all sorts of electronica and dance music. It was lined with smaller tents, flags and other such décor. Unfortunately, the overcast sky muted most of the colours. But the vibrancy remained all throughout Glastonbury. I strolled along, passing a wealth of attractions. There was the Pussy Parlure, a 1920s-inspired wooden burlesque-type theatre venue for late-night entertainment - karaoke, pop quizzes, floor games, and of course, music, all in Glasto-fashion.
Up ahead lay the Green Fields - The Greenpeace Field, The Kids Area, The Craft Field and more - the south side area of Glastonbury that caters to all things in harmony with nature. More than promoting youth culture, the Glastonbury Festival also staunchly supports humanitarian causes such as Greenpeace, Oxfam, Water Aid, and this year, Make Poverty History (Britain’s banner under the Global Call to Action Against Poverty campaign).
Atop the Green Fields is the King’s Meadow, where the best view of the festival site can be seen. Steeped in mythology, tradition and religious traditions, this area is also referred to as the “Sacred Space.” It is here where the Stone Circle sits, where every year, thousands of festival-goers watch the Glastonbury sunrise.
Unfortunately, I only had time to do a brisk walk-through. Almost as soon as I reached the top, I had to head back to the British Council booth. But no matter, as the trek down was another story on its own.
I had a couple of minutes to grab a late lunch before making my way back to the British Council booth, where a BBC Radio production crew was scheduled to interview music promoters from Macedonia, Morocco and myself, representing the Philippines. I think the crew was just as thrilled to learn varying opinions from three foreigners as much as we were to have had such a grand opportunity. It was around 4.Bob Geldof. Oh well, a human link for a BBC interview seems like fair trade to me.
The latter half of my day was more organized this time. The Futureheads, Echo and the Bunnymen and Interpol were playing consecutively at the Other Stage, while New Order and Coldplay were performing after by the Pyramid Stage. And what performances they all gave. Younger bands The Futureheads and Interpol rocked like they’d been doing it for years, while Echo and the Bunnymen and New Order proved they can still rock after 2 decades. New Order vocalist Bernard Sumner even managed to draw some tears from the crowd as he dedicated “Transmission” to their late Joy Division’s vocalist, Ian Curtis and then again with “Love Will Tear Us Apart” for the beloved John Peel.
If New Order and the other bands had their bits, Coldplay was one enormous Glastonbury moment. From their setlist to Chris Martin’s retorts, the mid-song tribute to John Peel (almost every band had one for him) to the unexpected “Can’t Get You Out Of My Head” tribute cover, lyric-changing to the pyrotechnics, Coldplay sent the crowd over the moon. With an audience of over 100,000 people and the mud clinging to your wellies, it was impossible to dance. There was no choice but to leave that to your toes and eyebrows. But it was the moment they played “Speed of Sound” that had the most impact on me from the entire Glastonbury experience. It validated the trials and perseverance in the recent past, disjointed as they seem, that lead to the achievements I have made.
My shoulders ached, my bones were exhausted and my ankle was blistered and I still couldn’t believe two-thirds of the weekend was over. It was playing out all too quickly.
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