This year, for the first time, I volunteered as an Oxfam steward, taking on three eight-hour shifts - and, as such, I felt an even more heightened sense of anticipatory anxiety ahead of the Festival than usual.
What if I quite frankly was not fit enough to do a full week in a tent? What if I was rubbish at what I was being asked to do?
What if it rained all week and I just could not hack being damp and miserable for that long?
But I really needn't have worried - particularly with regards to any prospect of a washout.
WORK HARD
OXFAM requires its volunteers to arrive at Glastonbury Festival by Tuesday at the latest - and, better still, by Monday evening.
Therefore, I booked the 11:31 train from Newcastle to arrive at Castle Cary - the nearest station to the Festival site - at 18:14 on Monday 23 June.
An early problem presented itself at Doncaster where my connecting Hull Trains service to London Kings Cross was cancelled as a result of industrial action - and so I hastily gathered all of my stuff on the platform and reboarded my initial train all the way to the capital.
In London, I diverted from the direct route between Kings Cross and Paddington to buy some tent pegs on Tottenham Court Road - and so it was only once I boarded the service to Somerset that I was able to feel a little more relaxed about everything.
From Castle Cary, I bit the bullet and took a rather expensive taxi to Blue Gate near the Oxfield but gladly made it on time to register.
There, I received my all-important luminous tabard, my briefing pack including my shift times, my ID lanyard and wristbands, and my meal and shower vouchers.
My shift times and areas were confirmed as follows:
- Wednesday 25 June - Pedestrian Gate A - 05:45-14:00
- Thursday 26 June - Vehicle Gate 5 - 13:45-22:00
- Saturday 28 June - Pedestrian Gate D - 21:45-06:00
In short, I had hit the jackpot!
These were great shifts to be allocated with two of them completed even before the main stages kicked off and an overnight stint during which the only significant artist appearances were the Saturday night headliners.
For the rest of Monday, I took a whistle-stop wander around bits of the site before, tired from the long journey from the North East, I got myself cozied up in my sleeping bag for my first night in a week of tent-dwelling.
At that stage, my mind was still racing about just what I had let myself in for - but an entertaining, though mandatory, hour-long briefing - delivered on Tuesday at 3pm - provided some guidance and reassurance.
During the briefing, we learned about the different roles to be undertaken, the security features of the various tickets, and the support available to us.
However, there was a disappointing lack of specific information about working on Vehicle Gates (see shift 2 below).
Nevertheless, we were advised that a far more detailed briefing would be delivered by a supervisor at the start of each of our shifts during which our exact roles would be allocated.
The remainder of Tuesday was unquestionably a time to try and relax, and I made a quick tour of a few of the crew bars available to staff and volunteers before the Festival gates open such as Maceos, the Tow and Hitch, and a couple of others.
Still, I returned to the tent around 10pm for a responsibly early night ahead of my first ever work at Glastonbury Festival, starting at 5.45am!
Shift 1 - Wednesday 25 June
at Pedestrian Gate A - 05:45-14:00
Now, anyone who has ever known me will be aware that my attendance at a pre-6am shift was almost a miraculous effort in itself.
However, I quickly realised that this was the place to be for my first ever shift. Pedestrian Gate A almost always attracts the television cameras and Glastonbury glitterati for its proximity to the Festival bus station.
Allocated a standard ticket-checking and scanning role, there was palpable feeling of nerves and excitement ahead of the official opening of the gates shortly before 8am.
And then came a real lump-in-the-throat moment as Emily Eavis helped her father Michael out of a vehicle in a wheelchair to acknowledge the crowds as a small band played the theme from Chariots of Fire.
Thereafter, it was down to work - except it did not really feel like work to offer a warm welcome to everyone who had waited so patiently outside.
The shift was notable for one runner who appeared to evade Security - and a couple of other punters who, without the correct credentials, were dealt with effectively.
But, while part of the role of the Oxfam steward was to be on the lookout for anything that did not look or feel right, most of the eight hours passed by steadily, with only the sharply-rising temperature beyond midday causing any sort of discomfort.
The end of the first shift produced a little surge of confidence in myself - and I knew, after a decent rest, that I could enjoy the rest of Wednesday in the knowledge that I had done my bit to get the party started...
Shift 2 - Thursday 26 June
at Vehicle Gate 5 - 13:45-22:00
From a busy Pedestrian Gate on Wednesday to a nearby busy Vehicle Gate on the following afternoon - this was a rather different, and initially extremely confusing, experience as a team of four of us managed two lanes of traffic heading into the Festival.
My senses were heightened by the constant hum of idling engines as they waited at the checkpoint with some larger vehicles - trucks and tour buses, most notably - having kicked up a lot of dust on yet another scorching afternoon.
For sure, there was a different type of clientele on this shift than the excited punters on the day prior with the arrival instead of loads of production staff, delivery workers as well as site worker and hospitality tickets.
Performers and their guests were also beginning to arrive - including Joe Goddard of Hot Chip and some friends of the Alabama 3 - though presumably the Oxfam volunteers over the weekend had the opportunity to be a little more star-struck.
In another notable difference to the Pedestrian Gate, though, the Vehicle Gate had its own dedicated staff - and dealt with some of the tickets themselves.
Nevertheless, there was still no shortage of stubbing and scanning of EPOs for us volunteers.
Following a late break, the remainder of the shift brought the far more laidback responsibility of liaising with the Security staff and literally using a blue marker pen to write the number of occupants of a vehicle on its windscreen.
But, as the last of the evening sunshine disappeared behind the treeline and the temperature cooled, the end of the shift was a welcome feeling especially as there was now almost 48 hours to indulge in the Festival as a punter.
Shift 3 - Saturday 28 June
at Pedestrian Gate D - 21:45-06:00
Fully into the swing of the Festival by this point - and on an emotional high following the glorious performance of Pulp on the Pyramid Stage - the overnight shift had the reputation for providing its own challenges.
Notably, depending on exactly where you are stationed, I was warned that the shift would drag if there were not a lot of people to deal with.
Moreover, it would have the potential to seem even longer if the temperature dropped significantly as is often the case in the Mendip Hills even at the very height of the summer.
As such, I took a jumper, wore my warm, waterproof trousers and three pairs of socks and mentally prepared myself for a long night.
Instead, cloud cover ensured the night remained mild with little to no breeze - and, although I decided on my break that I still needed my jumper for the second half of the shift, there was little time to think about anything else.
From towards the end of the headliners at around 11pm, it was a remarkably busy shift as a steady stream of people - in varying states of drunkeness and joy - passed through the Gate D throughout the whole of the night right until 6am.
Hopefully they all remembered their Pass Outs for re-entry on Sunday - though, in reality by 6am, my own thoughts had rather drifted to dropping off for a full morning of sleep to a soundtrack of light drizzle against the canvas of the tent.
Still, before I hit the sack, I embraced my good friend Jonathan for prompting this opportunity to attend Glastonbury which never would have been possible without his regular gentle arm twists.
Work for the weekend was now completely over - and once again the whole of the Festival was ours to enjoy!
PLAY HARDER
Wednesday and Thursday
I really scored on my Oxfam shifts which effectively offered the opportunity to have fun on all the major nights of the festival between Wednesday and Sunday, except for the overnight Saturday.
Additionally, there was plenty of time for fun throughout Friday, on Saturday afternoon, and the whole of Sunday.
Back to Wednesday - and, with the majority of the attendees having arrived, the Pyramid hosted its first Opening Ceremony since 1990 as the acrobats and jugglers from the Theatre and Circus area took centre stage at 10pm.
Sadly, their technically-outstanding show was something out of a damp squib, suited to a much smaller audience than that which appeared in the Pyramid field with little else on around the site.
Without a music licence on the main stages until Friday, the audience was encouraged themselves to participate by humming and providing vocals.
However, a lack of clear messaging left the crowd largely oblivious to what they were meant to be doing and the sense of bafflement led to the show itself not getting the attention which it deserved.
Instead, approximately 24 hours later on Thursday, a far more engaging - albeit completely unofficial ceremony - took place on the Sensation Seekers stage thanks to the excellent Oh My God, It's The Church.
A downpour of mild rain - or waam waata - fell from the Heavens provided no great discomfort - and merely added to the atmosphere being generated by band preacher Michael Alabama Jackson.
This rain was indeed the only time that the festival site got a bit of a soaking - and was one which made pretty much no impression on the parched ground.
By contrast, Oh My God, It's The Church made a brilliant impact as usual, though - and provided a key message for all to follow throughout the remainder of the weekend.
The remainder of Thursday night brought a true Glastonbury pursuit of largely directionless bimbling in search of something foot-tapping, enchanting or both.
We found it in the Toad Hole in the Green Fields where the Berlin-based psychedelic outfit Tolstoys livened everyone up in a joyous hour to wrap up this particular chapter.
Friday
In an unexpectedly sprightly start to Friday, I made my way back to Pyramid for the opening act proper on the stage as Supergrass started things off with their up-tempo brand of Britpop.
Irish singer-songwriter CMAT followed and showed beauty truly lies in the eye of the beholder with an engaging performance.
From there, I headed straight back to the Britpop 1990s for the searingly underrated York-based band Shed Seven who recaptured that bittersweet era with their anthemic hits Going For Gold and Chasing Rainbows.
Already on target to be one of my favourite sets of the weekend, the frontman of Elvana capped it off by randomly turning up halfway through and joining Rick Witter for a duet of Suspicious Minds. It was wonderful stuff.
Frantic Friday then stepped up yet another gear as Lewis Capaldi made a previously unconfirmed emotional return to complete the 35 minutes of the set which he had been forced to abandon in 2023.
A quick blast of early-2000s post-punk from Franz Ferdinand on Other Stage included an unexpected twist as the other Capaldi - former Thick Of It and Doctor Who actor Peter - made a guest appearance to duet on Take Me Out with Alex Kapranos.
Then it was back to the Pyramid for the awesome and angsty-as-ever Alanis Morrisette.
The Canadian delighted the main stage by recapturing the iconic soundtrack for so many 1990s teenagers with Hand In My Pocket, Hands Clean, You Learn, Ironic (of course), and You Oughta Know, before finishing - appropriately enough - on Thank U.
Next was a first trip up the hill to the Park Stage where Self Esteem supplied a welcome chilled-out vibe - though, disappointingly at times, seemed more interested in creating something special for her audience on TikTok than the one right in front of her.
Then again, perhaps I am just getting a bit old and grumpy about this sort of thing - especially in red-hot weather.
Saturday
After being frazzled throughout Friday - and with my shift coming at the end of the day - I was fairly unambitious with my Saturday plans and so missed the return of the Kaiser Chiefs to Pyramid.
Instead, buoyed by some extra rest, I made my way to the Acoustic tent for the first time for a heartfelt tribute to Bob Dylan - my dad's favourite artist and mine too.
A collection of Dylan aficionados, including veteran folkie Ralph McTell, combined to contribute a couple of songs each - though there were one too many obscure tunes and McTell sang his entries like he was going to burst out any second into his famed Streets of London.
Nevertheless, to finish, the troupe prompted a really emotional moment between myself and my friend John - a true Dylan fanatic - with 1967 song I Shall Be Released.
From the legend of Dylan to Pyramid for a true pioneer of rock-n-roll John Fogerty - and the former Creedence Clearwater Revival frontman was in fine fettle, celebrating his recent success in regaining the global publishing rights to his band's songs following a 50-year legal battle.
Mystery band Patchwork was next on Pyramid - though, when Pulp's Jarvis Cocker bounded on stage in his inimitable style, there was a sense of relief, rather than surprise.
In perhaps the worst kept secret of all-time, Patchwork was indeed Pulp - and, restricted to an hour, had to squeeze in all of their hits - Disco 2000, Do You Remember The First Time?, Mis-Shapes, Babies, and more.
There was little-to-no filler - and the set concluded with the anthemic Common People as the Red Arrows roared overhead on cue.
With the entertainment curtailed by work, this potentially iconic Glastonbury moment was a spectacular way to head into shift - and nothing on Sunday really promised to match it.
Sunday
Nothing did, as it happens - but, with all my shifts completed, it was still a fantastically fun day.
The Libertines on Pyramid promised a riotous start - but, as well as a relatively early set time counting against Pete Doherty, Carl Barat et al, their undoubtedly necessary mellowing unsurprisingly means that I no longer hear the music in the same way as I did at the peak of the band's powers.
Elsewhere, on the Avalon stage, there was better news as the Horne Section - fronted by the genuinely clever humourist Alex Horne - furnished this adorable corner of the festival with an hour-full of genuine belly laughs.
Then, next of course, came Rod Stewart in the fabled Sunday afternoon Legends' slot on Pyramid.
"If you want my body, and you think I'm sexy" crooned the 80-year-old midway through his set - not really Rod thought the vast majority of the crowd, surely.
At least, though, Sailing - a reliable set-closer if ever there was one - genuinely went down a storm.
Instead, I was far more enthused by the appearance of Nile Rodgers and Chic in the following set - and, as always, the New Yorker had the Pyramid field on their feet for a boogie.
Legendary songwriter and producer for the likes of Diana Ross, David Bowie, Madonna and more recently Daft Punk among many others, Rodgers really is a must-watch at a big Festival to make you forget about tired feet.
Would The Prodigy without the glorious Keith Flint still be worth a watch was a big question of mine on Sunday night?
The answer unquestionably was affirmative - the music and the light show was as good as ever, and a stunning show from the Braintree act set the vibes just right for Sunday night.
The feelgood factor continued back on Avalon where The Alabama 3 had their audience in the palm of their hands - and there was still more fun at The Levels in the Silver Hayes area where Groove Armarda drew a huge crowd.
Now, at 3am on Monday morning, the festival was over for many - but, in what is fast becoming a bit of a Glastonbury tradition, the final night does not feel as if it is over until the New York Brass Band have sounded out their final note.
Chugging back a Guinness from the can at 5am while bouncing around in a busy and friendly crowd - this truly had been another Glastonbury Festival which had the absolute maximum of fun joyfully squeezed out.
More than that, though, this will always be an especially memorable visit to Worthy Farm for me as, for the first time, I can say that I made a genuine contribution to the running of this huge operation.
Better still, I can say that I made my contribution with pride - and, even better again, volunteering with Oxfam added to my experience, rather than detracting from it - even if it was pretty hard graft at times.
OTHER GLASTONOTES
Headliners
As always, it was a Glastonbury Festival involving some firsts - and, notably on this occasion, this was the first edition in which I did not see a single minute of any of the headliners on Pyramid stage.
Apologies can be offered to Neil Young and the Chrome Hearts who I would have seen if I had not been on shift.
However, by all accounts, The 1975 - a painfully overrated band, in my opinion - unsurprisingly gave an underwhelming performance. Meanwhile, at the tender age of 22, it is a wonder that Olivia Rodrigo had enough songs to fill the 90-minute slot.
Then again, Glastonbury is about so much more than the headliners - and I am no doubt just getting a bit old and grumpy.
Politics
Glastonbury Festival is an inherently political place - it always has been and hopefully it always will be. Notably this year, there was a couple of excellent tributes of the 40th anniversary of the Battle of Beanfield in the Green Fields and the South East Corner - read more here.
More notably, two artists - Kneecap and Bob Vylan - made the biggest headlines of the festival in the print media, at least.
For the record, I went to neither of the sets - Bob Vylan clashed with the Songs of Bob Dylan on Acoustic while hip hop act Kneecap isn't my vibe, and I wasn't interested in going along for the sake of it.
Bob Vylan in particular were strongly criticised for leading a chant of "Death, death to the IDF [Israel "Defense" Force]" - but, while I agree with Emily Eavis's statement that Glastonbury Festival should be used as a positive force for change, "Death to the IDF" on an organisational level - and a complete reassessment by the Israeli government of its values - is simply a must if there is ever going to be peace in the Middle East given its ongoing murderous action.
Certainly, if I were in the UK government, I know which one I would be more disgusted by.
Crowds
With a capacity well in excess of 200,000, much has been made about crowd management at the festival - and there have been some past mistakes by the organisers, in 2024 in particular, where relatively large-name acts ended up on stages which were far too small for them.
In response, there was a slight drop in capacity this year - but, to be honest, the well-publicised reduction made no noticeable difference to me. After all, a few thousand less is a drop in the ocean in Glastonbury terms, and there was not a noticeable difference to the naked eye.
Nevertheless, communications on the official app in particular were better than ever with specific and timely information given about which acts were likely to reach capacity. Matrix signs for the raucous overnight South East Corner were similarly informative.
Now, it is always going to be extremely difficult to manage crowds at an event with the size of Glastonbury Festival - but it is clear from the vast improvement in comms that Emily Eavis and team have listened to concerns and are doing their best to manage some extremely difficult situations.
Litter
Related to the above, the sheer size of Glastonbury Festival inevitably means there will be some "unintentional" littering - stuff left in a genuine emergency and empty cans which unknowingly fall out of pockets, for example.
However, the amount of litter around the festival site cannot all be down to accidents - and indeed I have witnessed punters stamp on their can to flatten it then leave it on the ground.
There are plenty of bins available so there is genuinely no excuse - and, even when the receptacles are overflowing, the waste will no doubt be collected more easily if it is propped up against the bins.
Truly, the festival is blessed by the litter-pickers and recycling crew - and I am aware that this is a societal issue, rather than something which is specific to Glastonbury.
Nevertheless, Glastonbury punters and the festival itself really should be held up as a standard-bearer for this sort of thing - and the Love The Farm, Leave No Trace message can sound rather hollow sometimes.
