Glastonbury 2024 live: Coldplay on the Pyramid Stage, Chris Martin’s net worth and how many people are in the audience

Coldplay have revealed the sweet reason they brought Michael J. Fox on stage at Glastonbury. Martin had hinted at Fox’s appearance earlier in the show, referring to the song “Johnny B. Goode,” which Fox’s character Marty McFly from Back to the Future sings in the first film in 1985.

Regarding Fox’s involvement in Coldplay’s headlining performance, Martin said: “The main reason we’re in a band is because we saw ‘Back to the Future.'”

He thanked Fox and called him “our forever hero and one of the most amazing people on Earth.”

As Dua Lipa performed her songs, including “Training Season,” “New Rules” and “Levitating,” on Friday night, many viewers watching her set from their sofas at home accused the singer of imitating her singing. Dua Lipa was asked about this backstage at Glastonbury while enjoying some downtime with her boyfriend, actor Callum Turner. After a MailOnline When a reporter asked her about the allegations, the singer replied: “I don’t do pantomime.”

The reason for assuming that Dua Lipa did not sing live is apparently because there was a delay in lip-syncing on some services when the BBC broadcast the performance.

Chris Martin asked the Glastonbury crowd to send love to Israel and Palestine during Coldplay’s headlining set. After asking the 100,000-strong crowd to put their phones away for “A Sky Full of Stars,” Martin said: “Just raise your hands like this and face the main stage like this. Now we’re going to send a big Glastonbury love gift. OK, for five seconds we’re going to send it out.” Martin, who advocated for world peace, then said: “You can send it to anyone: you can send it to your grandmother, you can send it to Israel, you can send it to Palestine, you can send it to Myanmar. You can send it to Ukraine, you can send it to beautiful Russia. You can send it anywhere – you can send it from Glastonbury to the whole world.”

The “Gladiator” star and former street musician sang enthusiastic cover versions of Dire Straits and Johnny Cash as well as some of his own songs on the Acoustic Stage at Glastonbury. Louis Chilton was delighted

Dua Lipa saw it coming. The fireworks and the flags and the pulsing purple lights, the tiptoeing teenagers glaring at strange adults while throwing their arms in the air like money. When she was a girl, the 28-year-old, born to Albanian-Kosovan parents, tells us, in the middle of her first Glastonbury headline gig, she wrote it down – “I’m going to headline Glastonbury” – and in doing so, manifested the surprise hits and critical acclaim and the now-customary awards and No.1 hits that made that moment inevitable.

“I was very specific,” she adds after a shy laugh. “I said I wanted to headline the Pyramid Stage on a Friday night because then I knew I could party for the next two days.” Her voice breaks as she describes the magic – “the power” – that controls this seemingly infinite crowd. “As a little woman, I would be beside myself right now.”

The growing Dua Lipa empire—which now includes an acting career, a book club, a burgeoning media platform, and a podcast featuring high and pop culture figures—shows no signs of slowing down, especially now that she’s bought back the rights to her music catalog. Yet behind her cultural dominance, Dua Lipa is as enigmatic as she is omnipresent. Her strikingly vague personality (and perhaps her admirable support of geopolitical causes) has prevented her from transcending her box-office-rich fame and becoming the nation’s darling.

At the other end of the grounds and also the spectrum of musical performances from Dua, Fontaines DC slink onto the Park Stage, bathed in murky green light and accompanied by a poisoned bass. Their opener, the title track from forthcoming album Romance, sounds like the most sinful love song ever written, and the following “Jackie Down the Line” isn’t much more gallant: “I’ll finish you off in time,” sings skirt-clad frontman Grian Chatten with a stalker’s intent. Recent releases have brought a melodic grunge side to their spiky, literate post-rock, giving Chatten’s monotone poetry sometimes a somber depth, sometimes a dirge-like thrashing. But at their best – “Televised Mind,” “A Hero’s Death,” a “Boys in a Better Land” that sounds like punk ravaging the Cavern Club – they remain the most compulsive act of the new rock breed.