**Wet Leg’s Rhian Teasdale Criticises Glastonbury Backlash Against Artists Bob Vylan and Kneecap**
Rhian Teasdale, lead singer of indie sensations Wet Leg, has openly condemned what she describes as a “messed up” reaction to controversial performances by Bob Vylan and Irish rap group Kneecap at this year’s Glastonbury Festival. Speaking in an interview with the PA news agency, Teasdale expressed concern over the treatment and scrutiny of these artists following remarks and chants made during their respective sets.
Wet Leg, who took the stage on Friday afternoon, found themselves at the heart of a growing conversation about artists’ rights to political expression at major events. The storm of criticism originates from widely publicised moments over the weekend, with Bob Vylan’s show featuring chants of “death, death to the IDF (Israel Defence Forces)” and Kneecap’s set including calls to “start a riot” and explicit denouncement of Labour leader Sir Keir Starmer. The incidents have attracted both media and police attention, prompting Avon and Somerset Police to launch an inquiry regarding potential criminal acts.
For Teasdale, the focus on Bob Vylan and Kneecap feels both disproportionate and disturbing. “It shouldn’t have to be considered brave to call out a genocide – that should be the absolute bare minimum,” she explained. “But the fact that people are being punished, silenced or villainised for doing so shows just how messed up things are.” She pointed out what she sees as a deliberate effort to target certain acts, while many others over the weekend also lent their voices to pro-Palestinian messages.
The singer went on to highlight the role of artists in challenging uncomfortable truths. “It’s powerful for artists to speak up. The reality that people are being singled out in this way is worrying, and the way the media has focused on these two acts makes it seem as if there’s a wider intention to create scapegoats,” Teasdale reflected. The omission of pro-Palestinian sentiments from the BBC’s festival coverage has further fuelled her unease. “Coming out of the Glastonbury bubble and seeing how much of that messaging was cut from the BBC footage was honestly chilling. It shows how reality can be edited and distorted.”
Other Glastonbury performers, including Wolf Alice, CMAT, Gurriers, and Black Country, New Road, also used their appearances to show support for Palestine. Despite this, Teasdale believes Bob Vylan and Kneecap have been unfairly singled out, prompting broader questions about freedom of expression at live music events.
Teasdale credits her own evolving approach to activism onstage to the example set by other artists, citing Australian band Amyl and The Sniffers. “I really admired how Amy Taylor used her set to speak about Palestine. She said it’s better to say something imperfect than nothing at all, and that’s a sentiment that resonates deeply with me,” Teasdale said. Navigating the balance between making necessary statements and not detracting from the voices “who actually need to be heard” is a responsibility she feels keenly.
Wet Leg, comprising Teasdale, Hester Chambers (guitar), Henry Holmes (drums), Josh Mobaraki (multi-instrumentalist), and Ellis Durand (bass), have been on a meteoric rise since their viral hit “Chaise Longue”. The band is preparing to release their second album, “Moisturizer”, on 11 July. Their Glastonbury set gave fans a preview of new material, including tracks like “Davina McColl” and “Catch These Fists”.
Meanwhile, Bob Vylan has insisted they are being “targeted for speaking up”, alleging wider repercussions following their Glastonbury appearance. The duo’s US visas have been revoked, and several festival slots in Manchester and Germany have been cancelled, though they are still scheduled to appear at Boardmasters in Cornwall this August. Police are also reviewing the group’s comments during an earlier gig at Alexandra Palace.
At the centre of this ongoing debate lies the role of artists as both cultural ambassadors and political commentators. As festival season continues, organisers, broadcasters, and audiences face increasingly complex questions surrounding the boundaries of free speech and the responsibilities of public platforms.
The BBC, whose editorial decisions over Glastonbury have become part of the discourse, has declined to make Bob Vylan’s set available on iPlayer, stating it will no longer livestream acts deemed “high risk”. The wider fallout highlights a growing tension within the music industry – between artistic risk-taking and external pressure to moderate controversial voices.
For bands like Wet Leg, the experience has become a catalyst to refine their own approach to speaking out, underscoring the vital, if sometimes fraught, connection between music and activism in the public eye.