A Scathing Critique of Antisemitism at Glastonbury Festival

The piece opens with an alarming reference to a German pop song from the late 1930s that invoked violence against Jews, drawing a disturbing comparison to the attitudes present at a recent Glastonbury Festival. The author expresses disdain for the festival-goers, labeling them as hypocritical yuppies who indulge in a lavish lifestyle while pretending to oppose the very capitalist structures that benefit them, suggesting that the tragedy of Jewish history has been forgotten by a generation engrossed in self-indulgence.

A significant portion of the critique focuses on the nature of the crowd at Glastonbury, which coincidentally gathered around the anniversary of the liberation of the Stutthof concentration camp. The mention of the performers, especially the duo Bob Vylan and the band Kneecap, is framed negatively as they supposedly incited chants that promoted hatred against Jewish people. The author feels this represents a stark shift from the festival’s roots of musical rebellion against the establishment to becoming an uncomfortable gathering for the elite.

As the author reflects on the price of tickets and the evolution of Glastonbury into a festival catering to well-off attendees, they contrast current performances with the festival’s historical beginnings—where music was the primary focus rather than political posturing. The commentary points out the irony that while these performers claim to champion social justice, they inadvertently perpetuate divisive rhetoric. The author hopes for the downfall of the "fake Marxists" who propagate these views, deeming them a continuing embarrassment to British society. Finally, a sarcastic yearning for a metaphorical "friendly bomb" stands as a dramatic conclusion to the author's frustrations with the event and its attendees.