Can you believe it’s 20 years since the publication of Harry Potter and the Philosopher’s Stone?
Joanne Rowling, as she was known then, dreamed up the story of the bespectacled boy wizard on a train trip between London and Manchester.
She finished the manuscript in 1995, writing much of it in cafes in Edinburgh while her baby from her first marriage slept in a pram.
After many rejections, the manuscript was eventually picked up by Bloomsbury. The first hardback print run, which came out on 26 June 1997, was just 500 copies.
Then something magic happened. That first book – and the six that followed – went on to sell more than 450 million copies around the world.
Here’s a look at the many ways the Harry Potter phenomenon has cast a spell on the cultural landscape over two decades.
It got kids (and adults) reading
Okay, so books were around for a long time before Harry Potter. But JK Rowling turned book consumption, especially for children, into something close to addiction.
You want proof? The UK release of Harry Potter and the Prisoner of Azkaban in 1999 was timed at 3.45pm to prevent children in England and Wales from skipping school to get their copy.
The later books got HUGE but it didn’t stop kids devouring them.
Grown-ups got hooked too, with the books being released in adult-friendly covers.
The book releases themselves became headline news: when the fourth book Goblet of Fire came out in 2000, booksellers around the world got together to coordinate the first ever global midnight launch.
When Rowling received an honorary degree at St Andrews University that same year, the Scottish institution said she had proved that children’s books “are still capable of capturing and enchanting an immense audience, irrespective of the competing attractions of television, Nintendo, Gameboy and Pokemon”.
It also got people writing
The Harry Potter books are credited with opening the way to a whole swathe load of young adult fantasy fiction.
Lots of books were released in the hope they would be “the next Harry Potter”, such as Artemis Fowl, The Spiderwick Chronicles and A Series of Unfortunate Events.
Would we have had blockbuster series like Twilight and The Hunger Games novels had not Potter paved the way?
And let’s not forget fan fiction.
The internet is thrumming with tens of thousands of unofficial spin-off stories about life at Hogwarts, The Dursleys and what the Weasley twins get up to at parties.
A warning to the curious: some are NSFW.
It got us all steamed up about trains
For a generation of kids brought up on Thomas the Tank Engine and The Polar Express, there was suddenly a shiny new steam train in the engine shed.
Most words have to be around for 10 years before they will be considered for the Oxford English Dictionary, but JK Rowling’s word “muggle” – which made its debut in Philosopher’s Stone – was an exception.
It was added to the OED in less than half the usual time, appearing in 2002 as “a person who lacks a particular skill or skills, or who is regarded as inferior in some way”.
In the world of Harry Potter, a muggle is a person without magical powers.
We suspect that Crumple-Horned Snorkack – an elusive magical creature in Sweden – may take longer to make it into the muggle lexicon.
It invented a new sport
In the books, Quidditch is a magical sport played on flying broomsticks, and involves bludgers, quaffles and a golden snitch – a small ball with wings.
In the real world, Quidditch is a non-magical sport played on broomsticks, and involves bludgers, quaffles and a golden snitch – a person in a yellow t-shirt with a Velcro tail attached to their shorts.
It started in the US around 2005 and has become a global sport with its own governing body. The Quidditch World Cup takes place annually and was won last year by Australia.
It spawned one of the world’s biggest film franchises
Until recently, the eight Harry Potter films were the largest-grossing film franchise in history, having brought in a whopping $7.7bn (£6.1bn) worldwide.
The first Harry Potter film – Harry Potter and the Philosopher’s Stone (it was known as the Sorcerer’s Stone in North America) – was released in November 2001.
As well as breaking box office records faster than a trip on the Knight Bus, it also introduced the young Daniel Radcliffe, Emma Watson and Rupert Grint to the world.
Pop star Ed Sheeran has headlined Glastonbury’s Pyramid Stage, just six years after his debut at one of the festival’s smallest venues.
In 2011, the star played the solar-powered Croissant Neuf stage, playing “to about 500 people”.
On Sunday, he closed the festival, attracting a much younger audience than Friday and Saturday’s headliners, Radiohead and Foo Fighters.
The 26-year-old admitted he was “very nervous but very excited” to be there.
Barry Gibb brings Glastonbury to its feet
“For those of you who haven’t seen one of my shows before or haven’t heard one of my songs, please pretend that you know them,” he told the audience.
“For those of you who have, please sing all of the words.”
“The aim of tonight is to lose our voices,” he added. “I’m going to lose mine as well.”
The audience took him up on the challenge; joining in wistfully as he sang the ballads Photograph and Thinking Out Loud.
They didn’t quite keep up, however, with the spittle-flecked Take It Back – a whirlwind of wordplay in which Sheeran declared: “I’m not a rapper, I’m a singer with a flow.”
The star played, as he usually does, without a band; using a loop pedal to layer his vocal and guitar lines and create a backing track live, on the spot.
This created problems during Bloodstream when his guitar slipped out of tune but, for the most part, the sound was impressive: Sheeran can build up or break down a song at will, a skill honed by years of relentless gigging in his teens.
Highlights included The A-Team, which he sang illuminated by the audience, who held their phones aloft, creating the impression of 80,000 fireflies bobbing around the fields of Worthy Farm.
Sheeran also invited traditional Irish band Beoga on stage to accompany him on Nancy Mulligan, a song about his paternal grandmother.
It was a moment that reeked of cheese but, watched from the side of the stage by his grandfather, Sheeran made it seem genuine.
This is the secret to his appeal. His brand of pop can be innocuous and twee – but Sheeran sells it with an earnest, everyman shtick that demolishes the divide between artist and audience.
However you respond to his music, it is clear he strikes a chord, especially with the YouTube generation who prioritise relatability over the preening mannerisms of, say, Mick Jagger.
Sheeran exploits it effortlessly. On headlining Glastonbury, he told the crowd: “I’d like to say it was a dream of mine, but I never thought I’d get to the point where I was playing this stage, let alone headlining it.”
And to Glastonbury itself, Sheeran’s appeal to under-30s is paramount: those are the fans the festival needs to replenish its audience and survive.
That’s why this year saw more pop and grime acts than ever, from Charli XCX to Katy Perry; from Wiley to Stormzy.
On Sunday, the festival also saw sets from Royal Blood, Courteeners, Foo Fighters, The Jacksons, Radiohead and The Killers – who played a secret show on the John Peel stage on Sunday evening.
“They say you play the John Peel Stage twice in your career – once on the way up, and once on the way down,” said frontman Brandon Flowers.
Jeremy Corbyn said he had been inspired by how many young people had got involved in politics as he addressed the crowd at the Glastonbury festival.
“Do you know, politics is actually about everyday life?” he asked the Pyramid Stage audience who had, moments earlier, been dancing to Craig David.
The Labour leader called for “a world of human rights, peace, justice and democracy all over the planet”.
The speech was watched by tens of thousands across the festival site.
At the Pyramid Stage, supporters and activists surged to the front of the crowd holding placards, and a chorus of “Oh, Jeremy Corbyn” – sung to the tune of Seven Nation Army by former Glastonbury headliners The White Stripes.
Mr Corbyn was not without his dissenters among the large crowd, with some boos heard during the speech and small pockets of the audience walking away towards the end.
But he received loud cheers for comments on equality (“We need to challenge sexism in our society, and homophobia, and any form of discrimination that goes on”) and refugees (“Let’s support them in their hour of need and not see them as a threat and danger”).
Mr Corbyn also commented on the recent election, which saw Prime Minister Theresa May’s majority cut in the House of Commons, following a vote in which the turnout among young people was reported to have increased dramatically.
“The elites got it wrong,” he said. “The politics that got out of the box is not going back in that box”.
He added that he was “inspired” by the number of young voters who got involved for the first time.
That the Labour leader was given a rock star welcome was, perhaps, unsurprising at the overwhelmingly left-leaning music festival.
Organiser Michael Eavis, who invited Mr Corbyn to appear, introduced him on stage, saying: “At last we have a leader to put in place all the issues we’ve been campaigning for for 40 years”.
The festival, which is run as a non-profit event, supports causes including Greenpeace, Oxfam and WaterAid.
Artists appearing at the festival have spoken of their support of Mr Corbyn’s politics, while Friday night’s headliners Radiohead commented during their set: “See you later, Theresa. Just shut the door on your way out.”
Rapper Dizzee Rascal told the BBC he was a fan: “He comes across quite genuine. It seems like he’s fought for a lot of good causes.”
“I don’t really want to get into politics,” added Mike Kerr of rock group Royal Blood, “but he seems like someone who speaks for, particularly, my generation of people. He seems like someone that represents us.”
In truth, most of the audience had come for the earlier hits – I Kissed A Girl, Teenage Dream, California Girls – which prompted mass sing-alongs from the younger elements of Glastonbury’s audience.
The newer material was less enthusiastically received; although a spirited rendition of Chained To The Rhythm, which saw Perry trade impromptu dance moves with a security guard, proved to be a lot of fun.
Earlier in the day, a beaming Craig David drew Glastonbury’s biggest crowd so far; cementing his improbable comeback from pop purgatory.
Jumping between DJ turntables and the front of the stage, he tore through a set that combined his greatest hits and a raft of RB classics, including No Scrubs and One Dance.
Clearly enjoying himself, the star rewrote his lyrics on the fly, at one point singing: “I wanna be yours, Glastonbury, and spend the whole night with you”.
As the set drew to a close, he thanked fans who had “stuck with me since 1999″, when he scored his first hit, as a guest vocalist on The Artful Dodger’s Re-Rewind (The Crowd Say Bo Selecta).
David’s crowd was undoubtedly bolstered by Jeremy Corbyn’s supporters, who arrived to see the Labour leader give a speech and introduce the next act, US hip-hop group Run The Jewels.
Corbyn delivered the political equivalent of a greatest hits set, running through some of his key policies on immigration,. social equality and arts education; as well as quoting Percy Bysshe Shelley’s poem The Masque of Anarchy.
Elsewhere on Friday morning, Glastonbury hosted sets by Jools Holland, The Bootleg Beatles and up-and-coming acts The Amazons, Sigrid, Cabbage and Nadia Rose.
Liam Gallagher, appearing on The Other Stage, sang the Oasis hit Don’t Look Back In Anger for the first time ever (his brother Noel sang the original), dedicating the song to victims of Manchester and London attacks, and the Grenfell Tower fire.
US singer Maggie Rogers, who shot to fame after a video of Pharrell Williams listening to her music went viral, drew a large lunchtime crowd to the John Peel stage.
As well as the song that impressed Pharrell, Alaska, she twirled and pirouetted her way through the current single On/Off and a wonky cover of the Spice Girls’ Wannabe, with indie singer Declan McKenna.
“That one was just for me,” she joked. But the singer was clearly moved by the turnout and response to her set, wiping away tears as she thanked the audience.
Saturday night’s headliners are Foo Fighters, who take to the Pyramid Stage two years after they were initially booked.
Frontman Dave Grohl had to pull out of the show after falling off stage and breaking his leg, two weeks before the festival.
Tonight’s performance will be “a big make-up date,” he told Radio 1 this week.
“We get to headline Glastonbury but also I get to do it standing on two legs. It means a lot to me, personally. It’s part of my recovery in a weird way.”
Grohl started out as the drummer in Nirvana, but these days it’s hard to imagine a time when he wasn’t a frontman.
Whether thrashing his guitar, strutting around the stage or teasing the crowd, his charisma spills over.
At one point, he sang an improvised song entirely consisting of one repeated swear word, just so he could break Adele’s record for the most obscenities said on stage at Glastonbury.
And after the band played Walk, about “learning to walk again”, he joked: “I’d like to dedicate that last song to my surgeon… my plastic surgeon.
“I went to him and I said, ‘I know I have a broken leg – but could you make me look older. And voila.”
As Grohl scrolled through a mini-history of the Foo Fighters’ hits (The Pretender, My Hero, Monkey Wench), it became clear the band have one setting: Supersonic. Even the quiet songs somehow ended up loud.
But their catchy pop-rock choruses and Grohl’s investment in his band kept the crowd on side throughout the two-and-a-quarter hour set.
Spirits didn’t even sag when drummer Taylor Hawkins stepped out from behind his kit to sing a version of Queen and David Bowie’s Under Pressure.
In fact, their bonhomie almost worked too well. During a pause in Best Of You, the audience picked up the song’s “woah-oh” refrain and sang it back to the band for a good three minutes.
“Would you let me finish the song, please?” pleaded Grohl. “Shhh.”
They eventually overran by 20 minutes, finishing their set just after the Pyramid Stage’s midnight curfew with a firework-assisted Everlong.
“I feel like this is the big one,” said Grohl. “I feel it’s the way it’s supposed to be.”
“Thank you so much. It was a beautiful night.”
Stormzy’s touching tribute
Elsewhere on Friday night, Solange played a mellow, subtly choreographed set on the West Holts stage.
Her performance drew heavily on last year’s hit album A Seat At The Table, a soulful, thoughtful portrayal of the struggles faced by black women throughout history.
British grime star Stormzy gave a powerful performance to a packed-out audience at The Other Stage.
Alongside his own hits, including Big For Your Boots and Shut Up, he played Ed Sheeran’s Shape Of You – on which he provided a guest rap at this year’s Brit Awards.
“We’re going to sing for Ed right now,” he said, encouraging the audience to go and see the pop star’s headline set on Sunday night.
“We’re going to let him know we got him tomorrow.”
Stormzy also dedicated the song 100 Bags to his mum, saying she “wouldn’t be able to comprehend” her son playing to 20,000 people at Glastonbury.
“Hey, mumzy, look at your boy now,” he said.
Throughout, the star’s set embraced his mainstream appeal without diluting the fierce and dextrous wordplay that made him special in the first place.
Coming on the day that Dizzee Rascal complained no British rapper had ever headlined Glastonbury’s Pyramid Stage, it marked the rapper out as the artist to break that barrier.
In the afternoon, pop star Dua Lipa drew one of the biggest crowds so far to the John Peel stage.
Thousands of people packed out the tent, with the audience stretching beyond the perimeter, as she played hits including Hotter Than Hell, Be The One and Blow Your Mind (Mwah).
Speaking to the BBC as she came off stage, the 20-year-old was clearly overwhelmed.
“It’s been my favourite, favourite performance on stage I’ve ever done,” she beamed. “I’ve never seen so many people.
“It was just the most magical day in my life. Maybe even the best day of my life, apart from the day my brother and sister were born.”
However, Dua threw herself into the performance so heavily she caused herself an injury.
“I’ve mashed my tailbone,” she said. “It was already bruised, then I went on stage and danced like I’d never danced before. Now I can barely walk.”
Later on Friday, Radiohead top the bill, exactly 20 years after their first headline appearance.
Guitarist Ed O’Brien said they would “leave their ego at the gate” and embrace the spirit of the festival.
Footballer David Beckham is also due to visit Worthy Farm on Friday, after organiser Michael Eavis invited him to open a local social housing project.
Although Friday marks the start of festivities, revellers have been arriving since gates opened on Wednesday.
Those in the know were treated to “secret” sets by indie band Circa Waves and alt-pop experimentalists Everything Everything on Thursday night at the small Williams’ Green stage.
For Everything Everything, the short, 40-minute performance gave them the opportunity to revisit the scene of “the best gig we’ve ever had in our lives”.
Two years ago, the band played the stage in the same week they released third album, Get To Heaven, “and in the time that elapsed, the listeners had learnt all the words and were singing them back”, singer John Higgs told BBC News.
“It was a really amazing, moving moment for us all.”
Thursday’s show was almost a re-run of that show, as fans joined in with the band’s new single, Can’t Do.
Although their set was not part of the official line-up, several thousand fans got wind of the show, and the audience spilled out of the tent into the surrounding fields.
“I keep getting texts from people I haven’t seen for years saying, ‘Oh, you’re playing tonight, aren’t you?’” joked drummer Michael Spearman.
“You can’t really keep anything secret, not in this day and age,” added Higgs.
A single to raise money for those affected by the Grenfell Tower fire has topped this week’s chart – despite only being released on Wednesday morning.
More than 50 stars including Stormzy, Rita Ora and Liam Payne recorded Bridge Over Troubled Water to support victims’ families and survivors.
The track sold 170,000 copies in less than 48 hours – the vast majority of which were download sales.
The cover of the Simon and Garfunkel classic was organised by Simon Cowell.
Dua Lipa – who appears on the track – told the BBC: “It’s such a special song. I feel really honoured and grateful to have been a part of it.
“To see so many artists come together for such a great cause, and to see the community come together, it’s really sad and upsetting but to know that together we can help the families that have lost loved ones, it’s very important.”
The song had the biggest first day sales of any single released this decade, shifting 120,000 copies, according to the Official Charts Company.
Bridge Over Troubled Water also features vocals from Emeli Sande, Robbie Williams, Kelly Jones and Paloma Faith.
Residents and survivors of the tower block also appear as part of a choir led by Gareth Malone.
The song knocked Luis Fonsi, Daddy Yankee and Justin Bieber’s Despacito from number one after six weeks at the top of the chart.
This week’s highest new entry was Wild Thoughts, performed by DJ Khaled, Rihanna and Bryson Tiller – making it Rihanna’s 30th single to reach the top 10 in the UK.
Over on the album chart, Royal Blood went straight in at number one with their second album How Did We Get So Dark?
The group told the BBC: “To have a career and make another record that has taken us to this kind of level is not only something we didn’t expect, but something we didn’t even contemplate… it’s incredibly exciting.”
Nickelback’s ninth studio album Feed The Machine entered at number three – marking the band’s first top 10 album in 10 years.
There were no such problems on Friday night, as the band embarked on a career-spanning set that held their experimental and anthemic qualities in perfect balance.
Airbag was thrilling, Pyramid Song devastating, and Everything In It’s Right Place a pulsing, twisted Radiohead version of a club classic.
They even pulled out the much-maligned Creep – the angsty, teenage anthem that gave them early success, but became a millstone around their necks as they matured into a fearlessly experimental art-rock outfit.
Things got political – briefly – during No Surprises, where the lyric “bring down the government, they don’t speak for us,” elicited a huge cheer from the festival’s left-leaning audience.
As the song ended, Yorke commented: “See you later, Theresa. Just shut the door on your way out.”
That aside, the frontman rarely spoke during the set, except to thank Glastonbury organisers Michael and Emily Eavis “for having us at your lovely farm today”.
“Thank you very much for coming to this field to listen to us this evening,” he added during the encore.
“Probably we’ll see you in some other fields over the weekend.”
Radiohead were preceded on the Pyramid Stage by indie-dance band The xx, whose spiralling, hypnotic songs soundtracked dusk on Worthy Farm.
Immediately before them, rock group Royal Blood celebrated with champagne on stage as their second album, How Did We Get So Dark, entered the charts at number one.
Speaking to the BBC, singer Mike Kerr said the band were bowled over by the two events converging.
“We definitely have a sense that this is a one-off thing. It’s something I’ll look back on as a very special time.”
Elsewhere on Friday, there were sets from Sleaford Mods, Clean Bandit, Dizzee Rascal, The Lemon Twigs and Flaming Lips.
On The Other Stage, pop star Lorde began her set “trapped” inside a clear plastic box that tilted back-and-forth above her band.
Once she emerged onto the stage, she dedicated a recently-released song, The Louvre, to anyone in the audience who was harbouring a secret crush.
“Shut your eyes and listen to the song, and just will it to happen,” she said. “Maybe they will kiss you tonight. Who knows?”
After two days of build-up, Glastonbury kicks off in earnest on Friday when the Manchseter Camerata open the Pyramid Stage, playing orchestrally-enhanced versions of club classics.
Over the course of the weekend, more than 2,000 acts will play on the festival’s stages – but all eyes will be on the main headliners: Radiohead, Foo Fighters and Ed Sheeran.
All three spoke to Radio 1′s Annie Mac this week, discussing their hopes and fears for the festival.
Here’s what they had to say, and a look at their history at Glastonbury.
Radiohead are headlining Glastonbury for the third time, 20 years after they first topped the bill.
That show, played just two weeks after the release of OK Computer, was named the best gig of all time by Q Magazine but Thom Yorke recently revealed he nearly walked off stage in frustration after the band’s monitors blew up, leaving them unable to hear each other.
“I just went over to Ed [O'Brien, guitarist] and said, ‘I’m off mate, see you later,’” he told BBC 6 Music. “He turned around and went, ‘If you do, you’ll probably live the rest of your life regretting it.’ I went, ‘Good point.’”
In the intervening years, Radiohead have done more than any other band to push the boundaries of rock music, stretching dark, brooding electronics over Yorke’s keening vocals. Their most recent album, A Moon Shaped Pool, rekindled their relationship with melody, and is bound to form the core of their set on Friday night.
Annie Mac: How are you all feeling about this?
Ed O’Brien: To be honest, a little nervous. A few days ago we were doing the setlist for a show in Denmark and we all fessed up: We had the Glastonbury tingles. You know, that anticipation and slight nerves. It means a lot. It’s a huge one.
What does it feel like to stand on that stage and look out to 100,000 people?
The first time we played it in ’97, it felt like we were looking out upon this scene of devastation. The rain was horrendous.
But the interesting thing is, when it’s really right, it doesn’t feel like there’s a divide. There’s a feeling of the band and the audience experiencing this thing together.
Can you tell us anything at all about what you’ll be doing on Friday night?
There won’t be any sort of guest appearances! I thought that Coldplay with Barry Gibb last year was brilliant [but] we’re not that kind of band.
What advice would you give to people who are virgin Glastonbury headliners?
It’s all about humility. For me, the bands who don’t do it on that stage – or anywhere in Glastonbury – are the ones who turn up with their shades on, and it’s all about them.
You’ve got to remember, you’re just closing the night. You’re not headlining, you’re one part of this huge, great, amazing beautiful festival. You’re providing maybe two hours of soundtrack to people’s enjoyment and experience at that moment.
You’ve got to leave your ego and shades at the gate.
Foo Fighters were all set to headline Glastonbury two years ago when Dave Grohl fell off stage and broke his leg in Gothenburg, Sweden. With two weeks’ notice, Florence + The Machine were drafted in to take the band’s slot, and Grohl spent the rest of the year recuperating (and performing from a specially-constructed throne). Now, he’s back on two feet, and ready to rock.
Powered by a seemingly endless supply of both hit singles and rock star charisma, the band are perfect headliner material.
Fist-pumping anthems like The Pretender, Best of You and Times Like These are likely to be joined by new single Run, but hopefully the band will avoid the temptation to break out brand new tracks from the forthcoming album Concrete Gold – “a record that sounds like Motorhead doing Sgt Pepper’s,” according to Grohl.
Expect the mosh pit to be full for this one.
Annie Mac: Would it be right to say this show will be a pinnacle in your career?
Dave Grohl: We last played Glastonbury in 1998 and we were in our infancy then. We were halfway down the bill, it was pouring with rain and I think there was some sort of Euro cup final thing happening, so about 90% of the audience disappeared once we hit the stage.
We were supposed to be back a couple of years ago and unfortunately I had to call in sick. So this is a big make-up date for me. We get to headline Glastonbury but also I get to do it standing on two legs. It means a lot to me, personally. It’s part of my recovery in a weird way.
You’ve had two extra years of a build-up to this headlining slot. Are you feeling like it’s going to be better than it was then?
Now there’s more purpose to us playing the gig.
You know, Florence + The Machine took our place as headliners and I saw footage of them playing one of our songs, Times Like These, and I got really emotional and thought, “What a beautiful gesture”. But [it was] also a beautiful moment that connected the band and the audience, so I can’t wait to play that song.
I’ve been thinking about this for two years. Playing a song like Times Like These in front of that audience for the first time, standing up on two legs, is huge. It’s a big deal, personally.
In just six short years, Ed Sheeran has graduated from Glastonbury’s tiny Croissant Neuf stage to the top of the bill.
He proved his ability to get people on his side in 2014, when he inherited Dolly Parton’s record-breaking Pyramid Stage audience, and got them all waving their shirts in the air during Sing.
Amazingly, he does all of this by himself. No band, no backing singers, no pyrotechnics. It’s just Ed, slapping his hand against his acoustic guitar and layering up harmonies on a loop pedal, like a digital one man band.
Music snobs might turn their noses up at his more saccharine songs, but the Sunday night slot is traditionally reserved for an artist who can bring the crowd together for an undemanding sing-song. And in that respect, Ed fits the bill perfectly.
Annie Mac: How are you feeling about this weekend?
Ed Sheeran: Really, really, really excited. I’m actually more excited about this than I was about playing Wembley [Stadium] – because when you’re playing your own shows, you’re not really winning anyone over. They’ve all parted with cash to buy a ticket.
Knowing that there are people in the audience that possibly don’t like my music at all… that excites me.
What’s the plan for the set?
I’m doing it all by myself. I think the key to any festival set is just play songs that people know. I’m not going to be like, “here’s a new song that I wrote last week”. It’s all going to be songs people have heard. Some [of the] songs I don’t even play in my set anymore because they’ve been over done, but I’m remembering that this is the first time that a lot of people are going to see me.
What about getting some special guests out… like Stormzy?
Stormzy is playing on Friday, so I don’t think he’s going to be around. But Beoga – who are the Irish band that play on Galway Girl – are there on Sunday, so I might get them up and have a bit of a jam.
Will you be at the festival all weekend?
I don’t like big crowds of people, ironically! So I’m not a big festival-goer.
I’m actually taking the opportunity to be at home for two days and then I’m going to go in on Sunday. And I’ve got every single member of my family coming so it’s going to be like a wedding reception afterwards.