**Glastonbury Organisers Condemn Bob Vylan’s Chant as Police Begin Investigation**
Glastonbury Festival officials have publicly condemned a chant led by punk artist Bob Vylan during a performance on the West Holts Stage, stating that it “crossed a line” as authorities begin to review footage of the incident. The controversy erupted after Bobby Vylan, frontman of the duo, encouraged festival goers to participate in chants of “Death, death to the IDF” – referencing the Israeli Defence Forces – during Saturday’s set. The incident has prompted both political and public outcries, and is now under scrutiny by Avon and Somerset Police.
In a collaborative statement released on Instagram by Glastonbury Festival and its organiser Emily Eavis, the festival emphasised its longstanding advocacy for “hope, unity, peace and love”, distancing itself from the controversial remarks made on stage. The organisers stressed that the presence of any performer does not equate to an endorsement of their views, but acknowledged that the comments made during Bob Vylan’s set had significantly overstepped acceptable boundaries. “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,” the statement read.
The episode further escalated when a member of the Belfast-based rap trio Kneecap, who appeared on stage after Bob Vylan, suggested the possibility of starting a riot at an upcoming court appearance, before quickly clarifying his comments and expressing support for Palestine. The political undertones of the performances, and the chants led from the stage, have left organisers and public figures alike debating the responsibility of festivals and broadcasters in moderating live content.
Health Secretary Wes Streeting expressed his dismay over the chants and their broadcast, describing the spectacle as “appalling”. Speaking to Sky News, Mr Streeting said both the BBC and Glastonbury Festival needed to address how such language was aired. Questioning the appropriateness of such chants being screened live, he highlighted the ongoing humanitarian crisis in Israel and Gaza, underscoring that “all life is precious” and that the growing tendency to take sides in such conflicts was “pretty revolting”.
The BBC has responded by stating that a warning about strong and discriminatory language was shown during Bob Vylan’s live-streamed performance on iPlayer. The broadcaster confirmed it has no intention of making the performance available on demand. A spokesperson emphasised: “Some of the comments made during Bob Vylan’s set were deeply offensive.”
Meanwhile, Avon and Somerset Police confirmed that they are currently reviewing video evidence to determine whether any criminal offences were committed during the performance, and whether further investigation is warranted. The response from the authorities reflects growing concern over the influence of public statements at high-profile events, with legal and reputational consequences for those involved.
The Israeli Embassy in the UK voiced its alarm on social media, describing the rhetoric from the Glastonbury stage as “deeply disturbing”. Similarly, Conservative leader Kemi Badenoch condemned the incident as “grotesque”, warning that failing to address the normalisation of such language was “playing with fire”. The Campaign Against Antisemitism (CAA) also weighed in, calling on the BBC to formally apologise and take action against those responsible.
This year’s festival saw heightened political tension even before the weekend began, with Prime Minister Sir Keir Starmer saying certain acts, including Kneecap, would not be “appropriate” for the line-up. Yet organisers stood firm, offering thanks to the Eavis family for defending their choices, even in the face of mounting criticism.
Bob Vylan, who began making music in Ipswich in 2017, is known for songs tackling issues around racism, masculinity, and class. Both they and Kneecap—whose members have also faced legal challenges and political opposition—have long sparked debate over the boundaries of free expression in art and music. The events at Glastonbury have reignited questions about the roles and responsibilities of artists, organisers, and broadcasters when confronted with highly charged political speech.
As investigations continue and festival organisers review their procedures, the incident serves as a reminder of the powerful intersection between music, politics, and public discourse at one of the world’s most renowned cultural gatherings.