From Australia to the UK, cultural gatekeepers who usually have a hair-trigger trained on bigotry are remarkably laissez-faire on matters that involve Jews.
After watching some of Glastonbury 2025, I’m no more mortified by Western arts institutions or broadcasters than I was yesterday. I’m no more disappointed by crowds, and no less surprised by artists and cultural institutions who would rather capitalise on fashion’s worst offerings than nourish the public.
The fallout from this year’s festival says more about fashion – who controls it, who benefits from it, who subscribes to it, and why – than it does about any artist or any music festival’s grasp on antisemitism.
