Just what is it about Glastonbury? 55 years in and the world’s most famous music festival continues to create headlines, crown new stars and produce those one-of-a-kind, you-had-to-be-there moments that get talked about for years after.

Michael Eavis’ creation has survived all manner of changing trends, dramatic cultural shifts and the rise and fall of countless major music acts, evolving from more rock and folk-centred lineups to eventually embrace dance music, reggae, metal, country, hip hop and, despite the protestations of a few grumpy gatekeepers, pop.

2025’s edition boasted a typically varied bill, everything from the experimental punk of Turnstile to the scabrous rap of Denzel Curry to the delirious trash-pop of Charli XCX and chaotic big beat of The Prodigy represented. Each year, the list of iconic Glasto performances only seems to get bigger. With the festival taking a well earned break this year, here are the 15 greatest Glastonbury sets of all time, so far.

The Smiths (1984)

More than a decade had passed since the birth of Glastonbury Festival, and the music scene that it represented in the early ’70’s had moved on some way as we reached the mid-point of the 1980’s.

Not that these changes were particularly reflected in the line-up of the festival, with the 1984 bill featuring jazz legends Fela Kuti and Dr. John and new wave hero Elvis Costello headlining. But, halfway down the bill on the Saturday, Michael Eavis had booked a band that would give the festival the lightbulb moment it needed, leading to its refusal to stagnate ever again.

The Smiths only had one album at this point, their self-titled debut, released in February of that year, but already they were becoming cult-like, a magnet for frustrated and disaffected youth. No one quite knew what was going to happen when Morrissey and Johnny Marr led the Manchester quartet out that day, but their ten-song set seemed to be a siren for young people to appear from nowhere and turn the Pyramid Stage from a docile field of hippies into an pogoing indie disco.

By the time a triumphant Hand in Glove closed the show, a full-blown stage invasion was happening. The festival would never ignore the zeitgeist again.

Orbital (1994)

Glastonbury’s relationship with dance music wasn’t an immediately happy one. Michael Eavis has openly admitted he didn’t care for the style, and when a series of free parties started springing up on site around the time that the UK rave scene was being vilified as public enemy number one in the media, a sense of lawlessness that was the antithesis of Glastonbury’s purpose caused all manner of headaches.

But when the Criminal Justice Act bill of 1994 scandalously targeted and criminalised fans of acid house, the festival, rather than shun the genre, showed solidarity and embraced it.

Brothers Phil and Paul Hartnoll, aka Orbital, were installed as NME Stage headliners that year and proceeded to perform a set that has gone down as a kind of EDM big bang for festivals the world over.

Not only was the duo’s hypnotic set of euphoric beats rapturously received, it showed that dance artists could compete with the traditional guitar band set up, opening the door for The Chemical Brothers, The Prodigy, Moby, Fatboy Slim and more to become an integral part of the festival’s fabric.

Perhaps even more importantly though, the booking was a statement of political intent, one that defied the government’s heavy-handed and discriminatory stance. It offered solid proof that the anti-establishment principles which gave birth to the festival were still alive and well.

Pulp (1995)

When The Stone Roses pulled out of their 1995 headline slot at the last-minute, after guitarist John Squire broke his collarbone and a shoulder blade falling off a mountain bike, Glastonbury was in urgent need of a replacement to close the Pyramid Stage on the festival’s Saturday night.

On the face of it, Pulp, indie journeymen who had been plugging away for the past 15 years, and had only just begun to experience crossover success with their 1994 album His ‘n’ Hers, may have seemed like an underwhelming alternative to the mercurial Mancunians.

But the Sheffield band had a pretty huge ace up their sleeve, having just released what would become their definitive anthem; the arch pop of Common People. So big a hit was the song, that Glastonbury took a punt on the band as headliners, and Pulp repaid them with the performance of their career.

Suave, self-depreciating, charmingly geeky and yet blessed with the kind of charisma that you couldn’t take your eyes off, frontman Jarvis Cocker wonderfully conducted the crowd through his band’s brilliantly odd, distinctly British, working class, guitar pop anthems. The reaction when the first notes of Common People’s disco throb begin, just after Cocker has read out his weekly shopping list by way of farewell, is spine-tingling stuff.

It elevated Pulp from cult favourites into one of the biggest bands in the country and turned Jarvis into a national treasure. One of the all-time great feel-good stories of the festival’s history.

The Prodigy (1997)

Three days before The Fat Of The Land dropped and confirmed The Prodigy as one of the most significant and influential acts of the 90s, Essex’s favourite firestarters rocked up to the Pyramid Stage to play one of the most explosive EDM sets ever seen at a major music festival. The first dance band to make the step up to Pyramid headliner, Liam, Keith, Maxim and their bandmates blew Glasto away with the kind of relentless, visceral energy usually more associated with the most confrontational punk and metal bands rather than anything out of the UK rave scene.

A break in the set owing to some equipment failure only heightened the sense of anticipation around the crowd when the band finally made it back onstage. By that point, Glastonbury was already an absolute mudbath, days of heavy rain in the lead up to the festival turning it into a bog as soon as punters stepped within its boundaries.

It didn’t matter; The Prodigy had seas of people bouncing, moshing and dancing like maniacs, newer cuts like Smack My Bitch Up, Breathe and number one smash hit Firestarter establishing themselves not just as career-high bangers, but some of the heaviest, most essential anthems of their era. Incredibly, this incendiary set was arguably not even the most iconic Glastonbury performance of that year…

Radiohead (1997)

By 1997, BritPop had been a national obsession for a few years, and that summer’s Glastonbury line-up reflected that. But, although no one knew it at the time, the rug was very much about to be pulled out from underneath the movement.

Two weeks before the festival took place, Radiohead released their third album Ok Computer. Installed as Pyramid Stage headliners on the festival’s Saturday night, the Oxfordshire band put on a performance that was so good it arguably contributed to changing the entire landscape of popular music in Britain.

Rather than coming out with a bang in an attempt to immediately grab attention, Radiohead teased out the opening of their set with the slow, delicate Lucky. It seemed a risk to start a first ever festival headlining set with a song placed as track 11 on an album that came out just 12 days earlier, but it immediately marked Radiohead out as the antithesis of the zeitgeist.

From there the Glastonbury audience was held rapt, becoming hypnotised by the band ran through a set of songs that sounded completely unique, utterly advanced and totally alien. Take a look at Thom Yorke wailing along, his body flinching and juddering, trying to keep in rhythm with his band as Johnny Greenwood’s iconic solo during Paranoid Android rips out of the Pyramid Stage PA, it’s a truly transcendent moment.

Unquestionably one of the greatest sets in the history of live music, raising the bar to near impossible standards.

David Bowie (2000)

Michael Eavis once described David Bowie as one of the three greatest singers of all time, alongside Elvis and Frank Sinatra, and Bowie hadn’t rocked up at Worthy Farm since its second iteration back in 1971, so this one was always going to be a bit special.

Let’s be honest, there is a more than a touch of revisionism when discussing Bowie these days; during the late ’80s and into the ’90s he wasn’t being lauded as a forward-thinking visionary in quite the same way as he is now, with albums from that period like Earthling and Black Tie, White Noise getting a lukewarm reaction upon their release. This performance, though, did as much as anything to re-cement Bowie’s place at the very pinnacle of popular culture, as he ran through a greatest hits set that reminded the entire world of his undoubted genius. Also, the warmth with which the veteran performer later spoke about his experiences at the festival was evidence of just how hallowed even the biggest artists considered this site to be.

Watching the set back today, the mass sing-along during Heroes, Life on Mars or Under Pressure are positively life affirming, but don’t ignore Bowie ending his set on a fantastic version of I’m Afraid of Americans, a nod to his thirst to remain relevant and never sink into the nostalgia quagmire.

Amy Winehouse (2007)

Everyone in the music industry knew that Amy Winehouse was a talent long before this performance blew her stratospheric. But Glastonbury 2007 is the moment where everyone could see that Winehouse was more than just a gifted, enigmatic vocalist; she was a true one-off, destined to be one of the finest artists that Britain has ever produced.

Less than a year earlier, her second album Back To Black had received plaudits from pretty much every corner of the music world, but as she stepped onto the Pyramid Stage for her early afternoon slot on the festival’s Friday, it felt like everything that made her so special became amplified for the entire world to see.

There’s just something so brilliantly unique about Winehouse here; slim, petite but lacking the airs and graces of a typical diva singer, she wipes the mud from her shoes on her backing curtain, before shuffling on and effortlessly belting out opening track Addicted. From there on in, it’s a greatest hits set with a few covers – Sam Cooke’s Cupid, The Specials Hey Little Rich Girl and Toots & The Maytals Monkey Man – thrown in for good measure. Great as they are, though, nothing really can compete with the awe-inspiring performances of You Know I’m No Good and Rehab, the pure soul and pain that glides so effortlessly from her mouth showing an artist at the peak of her powers.

As enigmatic as any artist on this list, Winehouse only ever performed at Glastonbury once more after this. At this point she’d doubtless have been a headliner, making her 2007 peak even more of a bittersweet pill to swallow.

Jay-Z (2008)

When Oasis’ Noel Gallagher scoffed that “Glastonbury has the tradition of guitar music…I’m not having hip-hop at Glastonbury, it’s wrong,” after it was announced that Jay-Z was to headline the Pyramid Stage in 2008, he might have been speaking as an out-of-touch, grumpy, old curmudgeon, but he wasn’t alone in his thinking.

Even back in 2008 the internet loved a pile on, and the purists’ ire was keenly felt, with many traditionalists happily jumping onboard the outrage train. How dare Jay-Z take a place on the bill usually reserved for legendary artists such as… er…Travis and Stereophonics…? Seems silly now, doesn’t it? Because those words could not have been more emphatically rammed down the throats of the detractors, as the New York rapper provided one of the all-time iconic Glastonbury moments by walking out to one of the biggest crowds seen in years, guitar in tow, and began to giggle his way through a sarcasm-laced cover of Wonderwall, before launching into an awe-inspiring mash up of 99 Problems and AC/DC’s Back In Black. As intros go, it might just be the best ever.

From there on in Jay couldn’t fail, drawing on one of the most bullet-proof, hit-filled catalogues in modern music, and chucking in snippets of The Prodigy’s Smack My Bitch Up and Amy Winehouse’s Rehab just hammered home the win.

This killer set opened the door for Kanye West, Beyonce, Stormzy, Dave and others to storm the festival in later years, and make anyone who ever questioned hip-hop’s place at Glastonbury again look exceedingly daft, at best.

Metallica (2014)

Save for the odd booking of alt-metal here and there over the years, Glastonbury had never truly embraced heavy metal. Which, considering the festival’s reputation as the most musically eclectic on the planet, was quite the source of frustration for some metal fans. It was a huge shock, then, to see Michael and Emily Eavis go from 0 to 100 and book the biggest metal band of all time to close the Pyramid Stage in 2014.

Confusingly, this prospect caused almost as much of a stir as Jay-Z’s six years prior, with endless indie no-marks and the same exhausting online commentators lining up to question the booking: as if that were not enough, an anti-hunting group of festival goers created a petition to have them removed due to James Hetfield’s extra-curricular activities. Metallica, as usual, won the day though, mocking the controversy in their set-opening video and playing a set of hard rock and thrash metal that won over even the most sceptical attendee.

In the aftermath Glastonbury would invite Motörhead to perform, and give Earache Records a stage to curate, which saw the likes of Gojira, Napalm Death, Entombed, Venom Prison and Employed To Serve added to the bill. Hard to imagine that would have happened without Metallica kicking the door down.

Dolly Parton (2014)

The day after Metallica laid waste to the Pyramid Stage a very different, but no less exciting, event took place. The long-established Sunday afternoon legends slot on the Pyramid Stage had boasted some great sets by some huge artists, with Tom Jones, Paul Simon, Neil Diamond, Dame Shirley Bassey and more overseeing mass singalongs over the years. But few, if any, pulled such a crowd, or put on such a heartwarming, good-time, fun-filled set, as country legend Dolly Parton did in 2014.

The consummate entertainer, Dolly knew exactly what was required to make the slot work, and with the gargantuan crowd eating from the palm of her hand, she turned a muddy field in Somerset into a Nashville hoedown in the most effortless way. The fact that she could just casually chuck Joelene out as the third song of the set says it all.

Some artists truly do transcend genre, and Parton is one of music’s all-time great characters and songwriters. In terms of matching the energy, and reciprocal devotion garnered by that set, only Kylie Minogue’s emotional and long-awaited performance in 2019 could match an hour of Dolly at her best. It was impossible not to raise a smile.

Florence And The Machine (2015)

In 2015, Foo Fighters were due to return to Glastonbury for the first time since 1997, to headline the Pyramid Stage. Then just weeks before the show, Dave Grohl broke his leg falling onstage at a stadium show in Sweden and their entire summer tour was cancelled. Just like 20 years earlier, Glastonbury suddenly needed a new headliner, and just like 20 years previously, the artist that stepped in gave the performance of their career.

Florence And The Machine were already a sizeable outfit, having picked up a BRIT award for their 2009 debut album Lungs, but the jump from well-known, indie rock band to Glastonbury headliner is a chasm. And Florence made the jump with impressive ease, drawing from the best of all three of her albums, and throwing in a beautifully poignant cover of The Foos’ Times Like These as a nod to her fallen peers, with Dave Grohl later describing her version as being “better than Foo Fighters had ever played it.” By the time the victory lap of You’ve Got the Love and Dog Days are Over came around, Florence had established herself as an all-time festival headlining act.

Stormzy (2019)

When Stormzy stepped out onto the Pyramid Stage to headline the Friday night of the 2019 festival he was 25-years-old, had one album to his name and was the first grime artist to do so. These events alone have to make his set one of the most astonishing achievements in Glastonbury’s history, but the fact that he made it such a spectacle, such a wonderful celebration of the best of black and alternative British culture and such an emotionally moving experience, cements its place amongst the all-time greats.

Beginning with a video of Jay-Z giving him advice about what to expect from the festival, which was a lovely little call-back, Stormzy walked out in a Banksy-designed, Union Jack stab vest, railed against the Tory government, then brought out members of the Black Ballet company, a full gospel choir, fellow UK grime artists Dave and Fredo and… er… Coldplay’s Chris Martin. In the process, he crowned grime as the definitive British youth culture movement of the modern era.

From an underground musical style from the streets of South London to closing the biggest music festival on Earth, Stormzy’s place at the top of the bill at Glastonbury should give hope to every young musician that the summit can be reached, no matter how stacked the odds are against you.

Foo Fighters (2023)

It might just have been the worst-kept secret in Glasto history. Within days of a mysterious band called ‘The Churnups’ being added to the Pyramid Stage lineup for 2023’s edition, Dave Grohl posted an open letter to Foo Fighters fans that seemingly gave the game away. “Every night, when I see you singing, it makes me sing harder,” he said. “When I see you screaming, It makes me scream louder. When I see your tears, it brings me to tears. And when I see your joy, it brings me joy. But, I see you… and it feels good to see you, churning-up these emotions together.”

Churning-up emotions? It can’t have been a coincidence. And it wasn’t: around tea time on the Friday afternoon of Glastonbury 2023, Foo Fighters did indeed stroll out on stage to an ecstatic response from a huge, expectant crowd, launching into a nine-song, banger-filled set to send Worthy Farm bouncing.

It was the Foos’ first appearance at Glasto since the death of Taylor Hawkins the year prior, making Dave’s emotional dedication of Everlong to his drummer and dear friend all the more poignant. A relatively short set, all things considered, but it might just have been Foos’ most impactful festival performance on these shores.

Elton John (2023)

There was no doubting that Elton John‘s final UK festival show was going to be something special, but it surely exceeded even the most optimistic of expectations. A sparkling, emotional, hits-stacked set that helped draw the curtain on Elton’s touring career in style, an incredible two-hour showing broke records and set a new standard for legacy acts on the Pyramid Stage.

Not only did the set draw the biggest ever viewing figures for the BBC’s Glasto coverage – peaking at 7.6 million views – but it drew the biggest live crowd the Pyramid had ever seen, a humungous, singing, swaying, dancing, flare-waving army that looked like something out of a particularly fabulous Lord Of The Rings scene. After intense rumours of appearances from Dua Lipa and Britney Spears, Elton instead largely used his time to spotlight younger artists in the form of Jacob Lusk, Stephen Sanchez and Rina Sawayama – a classy act that spoke volumes of the Rocket Man’s passion for great music above all else.

From an inevitable but emotional tribute to George Michael to the welcome surprise inclusions of Pinball Wizard and Are You Ready For Love, it was a near-flawless waltz with one of the UK’s very greatest songwriters. “This may be my last show ever in England and Great Britain, so I better play well and I better entertain you,” a visibly moved Elton remarked at one point. That he certainly did. We may never see a Glastonbury set with quite this level of spectacle and gravitas again.

Turnstile (2025)

Hardcore punk is hardly the first genre you’d associate with Glastonbury, but then Turnstile are quite unlike any band to have ever emerged from the hardcore scene. Many would argue that Baltimore’s finest had long outgrown their roots by the time they graced the Other Stage at Worthy Farm; the fizzing, technicolour shine of both 2021’s Glow On and last year’s Never Enough took as much influence from MGMT and The 1975 as Bad Brains or Trapped Under Ice.

And yet, their live shows remain some of the most chaotic and relentless in all of modern rock music – hell, frontman Brandon Yates became the first musician to stage dive at a Tiny Desk Concert – meaning that, as the mid-afternoon sun baked Glasto nicely on the final day of 2025’s edition, it felt like something special could be about to happen.

And special it was. From the second the band skipped out on stage and the shimmering opening notes of Never Enough‘s title track gave way to that fat, grungy riff, Glastonbury became a city of moshing, bouncing, dancing, crowdsurfing bodies and never let up. What followed was, quite simply, one of the most energetic, electric sets to have hit the festival in recent memory, a welcome reminder that rock music is indeed alive and thriving and that it can still have a home at the world’s biggest music festival.