Overview

As ever, organiser Michael Eavis has said this year was the best Glastonbury ever. Well, it was great ... but the general feeling seems to be that it wasn't the best in terms of atmosphere and overall enjoyment.

Perhaps the weather didn’t help, and the sometimes heavy downpours risked turning Worthy Farm into the swamp of ’98. But in the end it wasn’t so bad – people just got on with having a great time, and there wasn’t a mass exodus of people (like in ’98) who couldn’t cope with the conditions.

The bands? Oasis wow-ed their fans, while the neutrals were perhaps less impressed; McCartney was a big hit, but mostly for playing Beatles, Beatles and more Beatles; and Muse proved they deserved that closing slot. Around the other stages, the Festival's competition winners proved they deserved to play at Worthy Farm, and showed-up some of the more established acts.

There was a little frustration expressed about cancelled and moved sets, meaning some missed bands they were keen to see. But then again, there was also delight at the bands that stepped in, such as Lamb playing a hastily arranged set on the Jazzworld Stage in the Amp Fiddler slot (who then played The Glade at 9pm that night instead).

More seating around Jazzworld meant that it became a base for many able to sit and rest and sample tasty food while watching the flags flutter and sooth the soul. The programme of music meant anytime you passed the field they'd be music on to catch your attention. The Crown provided some DJ sets over the nights as well as a warm refuge from the rain. It even offered Werry Bitter as well as corporate Bud!

The Acoustic tent had many gems on offer for those seeking a real ale and some old style music and once again a well picked programme of fine musicians. There was a spine tingling set from Hothouse Flowers and Suzanne Vega to name but two of the many highlights. This year it appeared to have many new converts to the only Tent not on the Festival Guide map.

Some area of the Festival just had enough presence regardless of who were playing to bring relief and raise festival spirits. The Avalon Field was slightly re-arranged and benefited from better access as well as providing a wealth of Festival talent on it's three live stages.

The Glade was meant to have ‘Drunk Soul Brother’ (Fatboy Slim) and ‘London Dust Explosion’ (Chemical Brothers) both play late-night sets on Friday, but these were pulled after fears of huge crowds. Instead, Norm popped up in Lost Vagueness that night.

Lost Vagueness filled up after-hours, and the added access (and sometimes one-way system) meant that getting into the field was at least possible this year. The Ballroom’s after-hours – but extremely quiet – entertainment certainly pulled in the crowds, and the bands were good ... if you could actually hear them.

There were still the usual fantastic alternatives on offer. A strong line up in the Comedy and Cabaret tents meant many could keep their spirits up in a dry, warm tent, away from the heaving rain, and Bill Bailey's appearance on an outdoor stage in the Fire Field, or Woody Bop Muddy inside, were the perfect end to the festival.

The Tipi field was fuller than ever and always creates an uplifting vibe as festival goers enter it to listen to drumming and for a moment lose themselves in another time. There were Sweat Lodges, Shamanic teachings, Ancient Stories and much to experience there.

And once again there was the old festival area, with it metal flying horses, it's tiny intimate cafes, it's stone mazes to traverse, the carvers, potters and weavers from a bygone selling authentic festival wares. A world away from the gaudy stalls down in the main walkways.

The stone circle is the place to be at sunrise, but the bodies moving up-hill zombie-style at 4am were more dawn of the dead than dawn of the day. Perhaps the stone circle is more of a cliche than a happening now?

Regardless, it was a great Festival, and VERY BIG THANKS must go to all of the dedicated workers who make it all happen.

Michael has already hinted that U2 have been booked for next year. And next April he’ll probably claim that a mad rush for tickets by fans of just one band is the fault of that band. Wake up Michael!

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