Charli xcx, Doechii & Kneecap: The Best Moments From Glastonbury 2025 Day 2

There is no better description for Alessi Rose’s debut Glastonbury appearance than ‘pure joy.’ The 22-year-old is quickly becoming the pop star of her dreams: in the past two weeks alone she has toured with Dua Lipa and released “That Could Be Me,” a funky, flirty, “Teenage Dirtbag”-esque jam. On Saturday, she took to the The Other Stage in a white lace mini dress, skipping around furiously and letting the wind run through her auburn-dyed hair. After an electric “Eat Me Alive,” she lingered for a while to soak up the applause, having thrown everything into her performance.

It’s an absolute roaster down here on Worthy Farm this weekend, to the point that free sunscreen is being handed out for us pasty Brits. Japanese Breakfast, the Philly-formed indie-pop act led by Michelle Zauner, was aware of as much during her early afternoon set on The Park, saying, “I know you’re tired and it’s 2 p.m., but can we all jump for this next song?” The crowd largely obliged, but the set lent itself to a gentle sway — particularly to the dreamy “Road Head” and sparkling “Be Sweet.” Their set was a gentle, lovely way to start a long day ahead.

After weeks of teasing, Pulp were revealed as the mysterious act billed as “Patchwork” on the Pyramid Stage late Saturday afternoon. The band headlined in 1995 and returned for a surprise slot back in 2011; this main stage set came just weeks after the release of their first album in a decade, More. They made reference to that headline moment and the last-minute nature of the booking 30 years ago (they stepped in when The Stone Roses withdrew through injury), but kept things modern and fresh this time around with new songs “Spike Island” and “Got to Have Love.” They had to keep things moving, too. During their final song, “Common People,” the Red Arrows plane troupe flew over Worthy Farm for a surprise fly-over.

Aussie punks Amyl and The Sniffers speak plainly, but not without warmth and wit. Midway through their Other Stage set, Amy Taylor — the group’s vocalist and mischief maker — said that she wants to take a minute not just to shout out the Palestine people and the first nation population of their home country, but that speaking out in the “f—ed up times” we live in now is not an option but a mode of survival. Particularly in the time of artificial intelligence: “Buckle up b—-es, things are about to get weird.” Their rowdy set featuring “Tiny Bikini,” “Angel” and “Doing in Me Head” saw them proudly fly the freak flag with pride and humanity.

As in their music, in their stage chat, punk duo Bob Vylan alternate between boldness and vulnerability. Arriving in matching cream Fred Perry polos on the West Holts stage, singer and guitarist Bob Vylan — not his real name, of course — encouraged a sweltering crowd at Woodsies to engage with five minutes of yoga and meditation. This state of bliss didn’t last for long: over the course of an hour, the band coursed through brilliantly acerbic numbers including “Ring the Alarm” and “We Live Here” before dedicating “Pretty Song” to their peers Fontaines D.C., The Murder Capital and Amyl and the Sniffers — all of whom have consistently voiced their support for Palestine.

Come for the controversy, stay for the communal spirit: Kneecap’s much-anticipated West Holts takeover wrote itself straight into the Glastonbury history books. In between their calls for Palestinian solidarity and jibes towards the British government, the trio seemed genuinely overawed by the size of the crowd they attracted — the stage was closed off 45 minutes before the set began — and the vociferousness of their response. A furiously thrilling “Rhino Ket” saw moshpits break out in the front few rows, while dozens of red and green flares filled the air throughout. Their arrival to Worthy Farm wasn’t just a headline-making story, but a triumph of energy and feeling as well.

Saturday is full-on party night at Glasto, and while heavier beats might be heard on the site in the evening (Charli, for instance), Father John Misty’s set on the Woodsies had serious groove and punch. Making reference to the possibility that some of the crowd might have over-done it on previous nights, Misty — real name Josh Tillman — brought a touch of class to his hour-long performance. A nine-minute version of “Mahashmashana” and “Cleaning Up” got the crowd dancing without the need of eye-boggling visuals or electronic beats. Sublime stuff.

Deftones were due to play the slot before Charli xcx on The Other Stage but pulled out with hours to spare due to illness. Enter U.K. grime legend Skepta to save the day. He stepped in for a 30-minute set promising no visuals, no production — just straight-up talent. A parade of hits followed, including “That’s Not Me,” “Shutdown,” and “It Ain’t Safe,” the latter of which was dedicated to the “beautiful people of Glasto.” A moment to remember.

Seldom do Glasto debuts arrive in headlining slots on a major stage, but Doechii’s rapid rise demands it. Arriving on the West Holts stage, Billboard’s Woman of the Year offered up a six-point lesson plan dubbed Doechii’s “School of Hip-Hop,” a 45-minute sensory overload packed with big hits (“Anxiety”), cult favourites (“Alter Ego”) and her crowning glory (“Denial Is a River”). It was one of the festival’s all-time best debuts and drew a massive crowd. Next step, Pyramid? Don’t count it out…

Over the past 12 months, Charli xcx’s career has entered a new, rarefied realm, where she can command a space as vast as a packed-out Other Stage with little more than white-hot stage lights and the bass turned up to 11. Songs from her U.K. chart-topping sixth LP, Brat, are exactly what a Saturday night Glastonbury crowd wanted to be listening to and revelling in: shiny, messy, relentlessly high-octane pop that conjures endless nightlife fantasies. “This is for my people who are going to Block 9 tonight!” the “365 party girl” yelled before launching into “Club Classics,” gearing up the masses for another few hours of uncomplicated good times over in the heart of South East Corner.