A city constructed purely to bring about joy and revelry among its temporary inhabitants, Glastonbury is a sell-out success year after year. But as Britons feel the pinch, how do they justify shelling out on a ticket? And what does this say about escapism and community during times of crisis?
It’s that time of year when over 200,000 partygoers flock to Worthy Farm for Glastonbury, enduring hours-long queues, a trek across the site with a week’s worth of camping gear, and a potential run-in with infamously muddy conditions – all in anticipation of the year’s biggest party.
In April 2023, the final batch of general admission tickets to the festival sold out in just six minutes. This, despite entry costing £335 and cost of living pressures forcing many Britons to pinch their purses. For the lucky crowd who acquired their golden tickets – and the millions who attempted but missed out – the opportunity to attend was too good to pass up.
So, what does this tell us about people’s need for escapism, particularly during times of crisis? And how is such a purchase justified during a period of deep financial anxiety?
Musically, Glastonbury has something for everyone. As pop icon Elton John closes the Pyramid stage on Sunday with his last-ever UK performance, Queens of the Stoneage will lure in hordes of stoner rock fans just a few hundred metres away, while many others will see the weekend out in the immersive euphoria of the site’s southeast corner – IYKYK. However, Glastonbury is far more than the sum of its musical talent.
“Glasto is the ultimate escape; it's literally like another planet – the outside world just doesn't exist,” says Alex Strang, a senior insights editor at Canvas8. “More than a music festival, it's like its own country, with a site so big you could get lost for the whole weekend without seeing a single band. With so many crises affecting people from every angle, the appeal of going somewhere to get completely lost – both mentally and physically – is massive.”
Glastonbury's sheer scale and countless activities speak to the 70% of Britons under 40 who want more from their trips now than ever before and the two-thirds of under 25s who say they want to return feeling like they’ve had fun and adventures. These attitudes can help explain the sell-out popularity of the festival despite the cost of living pressures, and why many prioritise it over a conventional trip abroad.
Strang agrees that its allure is down, at least in part, to the value people receive in return for purchasing a ticket. “Glastonbury might seem like it’s expensive – and for a lot of people, it is – but the value that people get there is huge. It's almost a guaranteed good time,” he says. “People know what they are getting, and maybe that’s what makes it so easy to legitimise spending the money on a ticket.”
The temporary society that Glastonbury spawns also offers an alternative, collectivist vision of society. Its charitable approach and anti-corporate, anti-capitalist vibe allow people to come together and rail against the crises they’re experiencing. “It's a great equaliser,” adds Strang. “Everyone that goes to the festival is in it together. It becomes its own utopian version of society and reflects an idealised version of how people want to live, act, and be treated.”
Glastonbury provides an enchanting getaway for people to disconnect from daily life and become part of a unique community. Although costly, it guarantees an unforgettable experience by embodying an alternate, utopian reality – all soundtracked by the best musicians of the day. For attendees, many of whom have faced significant challenges over recent months, the scale of this escape is too hard to ignore.
