Closing the final night on glastonbury‘s iconic Pyramid stage, 22-year-old American sensation Olivia rodrigo delivered what many called the festival’s defining moment. Her set capped off the weekend on an undeniable high, providing a vibrant contrast to some of the more introspective or intense performances earlier in the lineup. As the third-youngest headliner ever to grace the legendary stage, Rodrigo proved she was more than ready for the massive spotlight.
Worthy Farm vibrated with the energy of Rodrigo’s performance, a dynamic blend of sharp, punk-pop anthems and raw, heartfelt ballads reflecting the complexities of young love and life’s injustices. Shifting effortlessly between powerful rock-infused tracks and vulnerable piano moments, she showcased a versatility that defied easy categorization. The crowd, a vast sea stretching across the field, was captivated from the first note, drawn into her world.
A Rapid Ascent to Festival Headliner
Just five years ago, Olivia Rodrigo was primarily known for her role as a Disney Channel actress. That changed instantaneously with the release of her debut single, “Drivers License.” The deeply emotional ballad, a raw cry of loneliness and heartbreak, shattered Spotify streaming records not once, but twice within 24 hours. Its unprecedented success propelled her straight to number one on both UK and US charts within a week, solidifying her status as a major pop force overnight.
Initially, “Drivers License” led to her public image being distilled to that of a “sad piano girl.” However, Rodrigo swiftly demonstrated her range, unleashing a series of energetic, guitar-driven pop anthems. These tracks openly embraced influences from rock icons like Joan Jett, the raw honesty of Alanis Morisette, and the pop-punk edge of Avril Lavigne, quickly dismantling the initial stereotype. This evolution was front and center at Glastonbury.
Connecting with the Masses: Punk-Pop and British Charm
Rodrigo’s headline set opened powerfully with this rock-infused sound, launching into the biting riffs of “Obsessed,” a song marked by self-deprecating jealousy, followed by the semi-autobiographical “Diary Of A Homeschooled Girl.” Dressed in a striking white lace corset paired with knee-high bovver boots – a nod to punk aesthetics, later reportedly switching to sequinned Union Jack hot pants for the encore – she commanded the stage. High kicks punctuated her movements as she whipped the enormous crowd into a frenzy.
“How are we doing tonight Glastonbury?” she roared, visibly taken aback by the sheer scale of the audience. “I don’t think I’ve ever seen so many people in my life.” Acknowledging the festival’s end, she hyped the crowd further: “Guys, it’s the last night of the festival. Are you ready to have some fun?” The energy dipped slightly as she transitioned into “Drivers License,” but the moment transformed as an army of young fans sang every word back, creating a palpable sense of communal catharsis across the field.
Her set deftly balanced her multifaceted artistic impulses: the raw power of a rock chick, the lyrical depth of a singer-songwriter, the energy of a rabble-rouser, the conviction of a strident feminist (a stance previously highlighted by her protest against the overturning of Roe v Wade with Lily Allen at her 2022 Glastonbury appearance), and the vulnerability of a heartfelt balladeer.
An Iconic Duet with Robert Smith
Perhaps the most talked-about moment of the night was Rodrigo’s decision to invite Robert Smith of The Cure onto the stage. This choice, featuring a veteran of 80s British pop rather than a contemporary chart-topper like Harry Styles or Lorde, stemmed directly from Rodrigo’s genuine adoration for the genre. She praised Smith as “perhaps the best songwriter to come out of England,” a sentiment that resonated deeply with the British audience.
Together, they performed The Cure classics “Friday I’m in Love” and “Just Like Heaven.” Rodrigo appeared visibly starstruck throughout the performance, glancing over at Smith with a beaming smile, seemingly unable to believe her luck. She added subtle harmonies, enhancing the beloved tracks respectfully. Smith, in turn, appeared equally charmed by Rodrigo, reportedly watching the remainder of her set from the side of the stage. Rodrigo later gushed, calling him “the nicest, most wonderful man ever” and expressing her profound honor at sharing the stage.
Authenticity and British Affection
Rodrigo’s performance felt remarkably authentic and “guileless.” For many in the audience, it resembled watching a relatable figure – perhaps a cool older sister or a precocious young relative – rather than an untouchable pop superstar. She eschewed common pop showmanship; there was no elaborate choreography and only one costume change until the powerful encore. Her performance relied purely on the strength of her songs and the tightness of her “pin-sharp, all-female band.”
She further endeared herself by introducing the new wave-tinged song “So American,” revealing it was about inside jokes shared with an English boyfriend. This led into a stream of affectionate comments about England: “I love England so much,” she declared. “I love how nobody judges you for having a pint at noon. I love English sweets, all the sweets from M&S, Colin the Caterpillar specifically.” She added a humorous anecdote: “True story: I have had three sticky toffee puddings since coming to Glastonbury. And as luck would have it, I love English boys.” This genuine affection was met with roars of approval.
The encore brought the biggest reaction of the night, a high-octane rush through fan favorites: “Brutal,” “All American Bitch,” “Good 4 U,” and “Get Him Back.” Rodrigo departed the stage under a shower of fireworks, inflatable balls bouncing through the jubilant crowd, leaving ears ringing from the feedback.
It was widely regarded as hands down the best, and best-attended, headline set of the weekend. Olivia Rodrigo clearly “understood the brief” for a Glastonbury headliner: deliver the hits, make it unique, and make it deeply personal. This innate understanding perhaps echoed the advice she might have internalized from watching Pulp’s set from her boyfriend’s shoulders the previous day, where Jarvis Cocker advised submitting to the Glastonbury experience. Her success firmly cements her place and ensures she’s welcome back to Worthy Farm any time.
Other Sunday Highlights Across Worthy Farm
While Olivia Rodrigo provided the grand finale, Sunday at Glastonbury 2025 featured a diverse lineup across its many stages, offering memorable moments for every taste.
Pyramid Stage Daytime Acts
The final day on the Pyramid Stage kicked off with an energetic set from The Selecter. Featuring singer Pauline Black, a former NHS worker, they delivered punchy ska anthems, dedicating their song “Frontline” to her former colleagues. The crowd enthusiastically helped Black power through hits like “On The Radio” when her voice showed signs of fatigue.
Celeste followed, showcasing a noticeable evolution in her sound. Moving away from the floaty jazz-soul of her debut, she presented a grungier, angrier musical direction after a five-year break from her chart-topping album. Tracks like “Everyday,” built around a sample of Death In Vegas’s “Dirge,” suggested the new material was well worth the wait.
London soul-pop artist Joy Crookes graced the Pyramid Stage earlier in the day, before moving to the Other Stage for a performance described as “buttery-smooth.” Dressed strikingly in a pink and green sari, she sauntered through bass-heavy singles like “Pass The Salt” and “Carmen,” drawing comparisons to Amy Winehouse. Her new single, “Perfect Crime,” with its instantly catchy chorus, quickly became a crowd favorite.
The Libertines offered an unexpectedly nostalgic set before the highly anticipated “legend slot.”
The Legendary Rod Stewart
Taking the coveted “legend slot,” Sir Rod Stewart returned to the Pyramid Stage after more than two decades since his last headlining appearance. In full lounge lizard style, he presented big band arrangements of classics such as “Do Ya Think I’m Sexy,” “Maggie May,” and “The First Cut Is The Deepest.” Despite a slightly wobbly start with lesser-known songs, he hit his stride with “Some Guys Have All The Luck,” leading to a string of hit after hit. The set featured special guests including Ronnie Wood of The Rolling Stones, his former bandmate in The Faces, for a chummy duet on “Stay With Me.” He also performed with Lulu, who jokingly suggested they’d “make a great couple.” Festival founder Sir Michael Eavis even joined him on stage for a special moment as Stewart wished him a happy 90th birthday. Sir Rod closed his set with a singalong to “We Are Sailing.”
Nile Rodgers & Chic’s Disco Party
Following Sir Rod, Nile Rodgers and Chic drew an even larger crowd, transforming the Pyramid field into a giant, feel-good disco party. Their setlist was hailed as faultless, seamlessly blending Chic’s own anthems like “Le Freak” and “Good Times” with iconic hits Rodgers produced for other artists in the 80s, including David Bowie’s “Let’s Dance” and “Modern Love,” and Madonna’s “Like A Virgin” and “Material Girl.” As their infectious grooves filled the air, a biplane flew overhead, drawing a smiley face and a love heart in the sky – a perfectly timed touch of magic.
High Energy on Other Stages
Over on the Woodsies stage, AJ Tracey delivered a masterclass in crowd interaction alongside Aitch. After teasing the audience for a weak mosh pit, Aitch joined him for their collaboration “Rain,” instantly igniting the energy. A string of UK rap anthems turned their set into one of the weekend’s sweatiest shows.
The Prodigy commanded The Other Stage with a wild performance dedicated to their late frontman Keith Flint, who passed away in 2019, the year they were originally scheduled to play. They paid tribute with classic tracks that thrilled the enthusiastic crowd.
Jorja Smith provided a soothing set of British soul on The Other Stage, offering a moment of calm for weary festival-goers. Meanwhile, Wolf Alice delivered a crowd-pleasing performance on the same stage, including a cover of Fleetwood Mac’s “Dreams.” Their song “Bros,” an ode to friendship, particularly resonated, sending the audience into rapture. The band showcased more angular, confident new material from their highly anticipated fourth album, hinting strongly at their potential to headline the festival in the future when it returns in 2027.
Other notable Sunday performances included Shaboozey and Noah Kahan on the Pyramid Stage, with Kahan humorously noting he was there to “depress” the crowd with his emotional songs during the sunset slot. Snow Patrol’s Gary Lightbody also made an appearance on The Other Stage.
As the festival drew to a close, attendees were reminded of the forecast for high temperatures (up to 31C) on Monday, with advice given via the festival app to consider leaving Worthy Farm before 6:00 AM BST to avoid travel congestion and heat. Despite some controversy earlier in the weekend regarding comments from punk duo Bob Vylan, Glastonbury management stated they were “appalled” by the remarks, reinforcing the festival’s stance. With no Glastonbury planned for 2026, the memory of 2025’s finale, spearheaded by Olivia Rodrigo’s triumphant headline set, will linger for years to come.
Frequently Asked Questions
What made Olivia Rodrigo’s headline set at Glastonbury 2025 special?
Olivia Rodrigo’s set was highlighted by its vibrant energy, blending punk-pop anthems with heartfelt ballads. Key moments included her genuine connection with the audience through British references like Colin the Caterpillar and sticky toffee puddings, and an iconic duet with Robert Smith of The Cure. Her authentic stage presence and focus on her songs and all-female band resonated strongly, making her set widely regarded as the best of the weekend.
Who were some of the other major performers on the final day of Glastonbury 2025?
Sunday at Glastonbury featured a diverse lineup beyond Olivia Rodrigo. Notable acts included The Selecter, Celeste, Joy Crookes, and The Libertines on the Pyramid Stage. The legendary Rod Stewart occupied the highly anticipated “legend slot,” followed by Nile Rodgers & Chic, who drew a massive crowd with their disco hits. On other stages, highlights included AJ Tracey and Aitch, The Prodigy, Jorja Smith, and Wolf Alice, among many others.
Why was Olivia Rodrigo’s duet with Robert Smith a significant moment at Glastonbury?
The duet between pop superstar Olivia Rodrigo and Robert Smith of The Cure was significant due to the blending of genres and Rodrigo’s visible, genuine fandom. It wasn’t a typical collaboration with a pop contemporary but stemmed from her deep appreciation for 80s British pop. Performing The Cure classics “Friday I’m in Love” and “Just Like Heaven” with a musical hero demonstrated her authenticity and added a unique, memorable element to her headline set.
