BBC apologises for broadcasting death chants at Glastonbury directed at Israeli forces

To the backdrop of a Palestinian flag, Bobby Vylan of British duo Bob Vylan performs on the West Holts Stage on the fourth day of the Glastonbury festival. (AFP/File)
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Updated 30 June 2025
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BBC apologises for broadcasting death chants at Glastonbury directed at Israeli forces

  • Punk rap duo Bob Vylan reportedly led anti-Israel chants, including ‘Death, death to the IDF’
  • BBC admitted ‘with hindsight’ that it should not have allowed the comments to air

LONDON: The BBC has publicly apologised after facing criticism for broadcasting live performances from the Glastonbury Festival that featured anti-Israel and pro-Palestinian slogans, including chants of “Free, free Palestine” and “Death, death to the IDF (Israel Defense Forces)” by punk-rap duo Bob Vylan.

The broadcaster drew backlash from politicians and pro-Israel groups for not cutting the live feed during the controversial performance. Critics, including Prime Minister Keir Starmer, called on the BBC and its director general, Tim Davie, to explain why such “appalling hate speech” was broadcast.

“The BBC needs to explain how these scenes came to be broadcast,” Starmer said.

The corporation initially described some of the remarks as “deeply offensive” and said an on-screen warning had been issued about the “very strong and discriminatory language.”

However, in a statement on Monday, the BBC acknowledged that “with hindsight” it should not have allowed the comments to air and pledged to review its guidance for live events.

“Millions of people tuned in to enjoy Glastonbury this weekend across the BBC’s output but one performance within our livestreams included comments that were deeply offensive,” it said.




Irish rap trio Kneecap were also embroiled in controversy after member Liam O hAnnaidh was charged with a terrorism offense for allegedly displaying a Hezbollah flag during a previous performance, a charge he denies. (AFP/File)

“The BBC respects freedom of expression but stands firmly against incitement to violence. The antisemitic sentiments expressed by Bob Vylan were utterly unacceptable and have no place on our airwaves,” the corporation added, confirming the decision not to make the performance available on demand.

This year’s Glastonbury Festival — attended by about 200,000 people — was one of the most politically charged in recent years.

Irish rap trio Kneecap were also embroiled in controversy after member Liam O hAnnaidh was charged with a terrorism offense days before the festival for allegedly displaying a Hezbollah flag during a previous performance, a charge he denies.

Starmer said Kneecap’s appearance at Glastonbury was “not appropriate,” prompting the BBC to drop the group’s performance from its broadcast schedule.

Police are investigating Bob Vylan’s on-stage comments and Kneecap’s remarks at the festival, which allegedly included criticism of Starmer. One Kneecap member also wore a T-shirt referencing Palestine Action, a group reportedly facing a government ban under anti-terrorism laws.

Glastonbury organizer Emily Eavis condemned Bob Vylan’s chant, saying it “crossed a line.”

“We are urgently reminding everyone involved in the production of the festival that there is no place at Glastonbury for antisemitism, hate speech or incitement to violence,” she said.

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

A post shared by Bob Vylan (@bobbyvylan)

The Israeli Embassy in the UK called the performance “deeply disturbing” and condemned what it described as “inflammatory and hateful rhetoric.”

Health Secretary Wes Streeting called the incident a “pretty shameless publicity stunt” and said the BBC and Glastonbury have “questions to answer,” but also added that he was appalled by the violence committed by Israeli settlers in the occupied West Bank.

“I’d also say to the Israeli Embassy, get your own house in order in terms of the conduct of your own citizens and the settlers in the West Bank,” Streeting told Sky News.

“I wish they’d take the violence of their own citizens toward Palestinians more seriously,” he said.

On social media on Sunday, Bob Vylan member Bobby Vylan said he had received a wave of support and hate in response to the performance.

“Teaching our children to speak up for the change they want and need is the only way that we make this world a better place,” he wrote. “Let us display to them loudly and visibly the right thing to do when we want and need change.”


Paris exhibition marks 200 years of Le Figaro and the enduring power of the press

Updated 17 January 2026
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Paris exhibition marks 200 years of Le Figaro and the enduring power of the press

  • The exhibition celebrated the bicentennial of Le Figaro, offering visitors a rare opportunity to step inside the newspaper’s vast historical archive

PARIS: One of France’s most influential newspapers marked a major milestone this month with a landmark exhibition beneath the soaring glass nave of the Grand Palais, tracing two centuries of journalism, literature and political debate.
Titled 1826–2026: 200 years of freedom, the exhibition celebrated the bicentennial of Le Figaro, offering visitors a rare opportunity to step inside the newspaper’s vast historical archive. Held over three days in mid-January, the free exhibition drew large crowds eager to explore how the title has both chronicled and shaped modern French history.
More than 300 original items were displayed, including historic front pages, photographs, illustrations and handwritten manuscripts. Together, they charted Le Figaro’s evolution from a 19th-century satirical publication into a leading national daily, reflecting eras of revolution, war, cultural change and technological disruption.
The exhibition unfolded across a series of thematic spaces, guiding visitors through defining moments in the paper’s past — from its literary golden age to its role in political debate and its transition into the digital era. Particular attention was paid to the newspaper’s long association with prominent writers and intellectuals, underscoring the close relationship between journalism and cultural life in France.
Beyond the displays, the program extended into live journalism. Public editorial meetings, panel discussions and film screenings invited audiences to engage directly with editors, writers and media figures, turning the exhibition into a forum for debate about the future of the press and freedom of expression.
Hosted at the Grand Palais, the setting itself reinforced the exhibition’s ambition: to place journalism firmly within the country’s cultural heritage. While the exhibition has now concluded, the bicentennial celebrations continue through special publications and broadcasts, reaffirming Le Figaro’s place in France’s public life — and the enduring relevance of a free and questioning press in an age of rapid change.