Festival season is under way, and leading the charge: the Isle of Wight Festival – dubbed “Europe’s Woodstock” – with headliners including Sting and the Stereophonics.

Former N-Sync star Justin Timberlake – a man who’s crooned about his love of “dance, dance, dance” and has recently become a meme for his mic-centric moves on stage – is a headliner too.

Meanwhile, Glastonbury Festival will see headline acts including Olivia Rodrigo, the 1975, and Charli XCX.

But along with the headline stars and hot weather, politics has also found its way into the spotlight.

Youth culture and political expression have long been part of the festival experience, with Vietnam, nuclear disarmament, Brexit and the Russian invasion of Ukraine all attracting attention over the decades.

This year, with geopolitics seemingly at a boiling point, the Israel-Hamas war has had far-reaching implications. As the Israel-Iran war follows in its wake, the conflict has prompted strong opinions on both sides.

Irish-language rap trio Kneecap‘s upcoming Glastonbury Festival set has become a flashpoint for robust debate, drawing protests from those calling for their set to be cancelled, as well as those championing their right to speak out.

The root of the contention? Kneecap band member Liam O’Hanna, 27, was charged with a terror offence earlier this year, accused of displaying a flag in support of Hezbollah, a proscribed organisation in the UK, at a gig last year.

Hezbollah was proscribed in its entirety in 2019 because the government classed it as a terrorist organisation and said its attacks on Israel were “attempts to destabilise the fragile situation in the Middle East”.

On Saturday, Prime Minister Sir Keir Starmer said he did not think Kneecap’s planned Glastonbury Festival performance was “appropriate” and Conservative Party leader Kemi Badenoch said she thought the BBC “should not be showing” the band’s performance at the festival next weekend.

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Although “removed” from playing at Scottish music festival TRNSMT next month due to “safety concerns”, Kneecap have remained on the Glastonbury bill, prompting the question: Is the stage a place for political opinion?

‘If we think we’re separate from world events, we’re kidding ourselves’

Faithless star Sister Bliss, who performed at the first of the re-instated Isle of Wight Festivals and is performing again this year, tells Sky News: “If we think that we’re separate from world events, we’re absolutely kidding ourselves. Our lives are tied intrinsically to everybody else’s on the planet.

“You can have certain people that express that in a way that is perhaps a tad crass, but I love that lyrically – especially on our records, in songs that we’ve made over the last 30 years – I feel that you can combine the personal and political in a way that’s not tub-thumping or simplistic. These issues are very nuanced that are going on in the world right now.”

Speaking to Sky News at the Isle of Wight Festival, Clean Bandit star Grace Chatto says artists are right to use the stage to amplify their voice.

“It is such a great place for political speech, like when Jeremy Corbyn spoke at Glastonbury – it was the most attended thing of the whole event, and it just brought such a feeling of unity and hope in that field on that day”.

The 39-year-old cellist adds: “Then recently, Kneecap and Massive Attack have just been so important, I think, and amazing.”

Earlier this month, Massive Attack, who have previously been critical of Israel, included footage of Hamas leader Yahya Sinwar and his family as part of a video montage at one of their concerts.

‘I’ve got loads of friends who are absolute idiots politically’

Fresh from the Isle of Wight Main Stage, Mae Muller tells Sky News: “With what’s happening in Gaza, I know that’s been a very prominent theme with people saying, ‘Should we speak out about it or not?’ But that’s not political, it’s a human rights issue.

“It’s important for us to use our voice, because not everybody can. If we feel strongly about something, and we can stand behind it, I think [the stage is] definitely a place to do it.”

Muller, who represented the UK at last year’s Eurovision Song Competition – which became a highly politicised event despite the attempts of the organisers to keep it from the stage – continues: “Art is inherently political, and you can’t really escape it. And we shouldn’t want to escape it. It can be two things at once. [Politics] and fun can coexist.“

Meanwhile, Razorlight front-man Johnny Borrell, ahead of his Main Stage performance, tells Sky News: “Why not say what you believe in? Why does everyone get so precious?

“You can disagree with people. I’ve got loads of friends who are absolute idiots politically – they think the earth is flat. I like them as people, but I completely disagree with them in politics”.

Borrell adds: “We don’t have a problem with disagreeing, but if everyone’s tapping away [mimes typing on a phone] and they’re like, ‘No, I’m really angry, I’m going to tap back,’ that’s a different thing. That’s what’s changed recently.”

A ‘disruptor’ festival, showing the world that anything is possible’

Regardless of the polarised times, Isle of Wight Festival promoter John Giddings, 72, says the Isle of Wight Festival experience should be a break from activism rather than a call to arms.

The 72-year-old, who represents artists ranging from Blondie to Phil Collins, told Sky News: “We’re purely about music and entertainment, and we are to switch off from politics for three or four days. We’re in the business of entertaining people, not preaching to people. And I don’t understand why people attempt to. That’s a different forum.”

Giddings, who relaunched the iconic festival after it was outlawed by authorities in 1970, fearing the crowds and rowdy behaviour could detract from the island, may be keen to avoid political controversy, but he’s keen to break the mould in other areas.

Following a long line of stars before him, including Bob Dylon, Jimi Hendrix and Joni Mitchell, singer Emmanuel Kelly has become the first physically differently-abled artist to perform on the Isle of Wight Festival’s Main Stage.

The 31-year-old former X Factor star, who supported Coldplay on their Music Of The Spheres tour last year, says as far as accessibility is concerned, the Isle of Wight Festival is a trailblazer.

Kelly tells Sky News: “Somebody that’s different is on the stage and is able to show the world that anything’s possible.”

Echoing the festival’s early rebel roots, he credits it with being a “disruptor”, adding, “They make the extra effort to teach the others around the world to make the extra effort as well… It’s important and it’s happening and I’m excited for it.”

In response to Sir Keir’s call for Kneecap to be removed from the line up at Glastonbury next weekend, and whether the performance would be available on any BBC platforms if it goes ahead, a BBC spokesperson said: “As the broadcast partner, the BBC will be bringing audiences extensive music coverage from Glastonbury, with artists booked by the festival organisers.

“Whilst the BBC doesn’t ban artists, our plans will ensure that our programming will meet our editorial guidelines. Decisions about our output will be made in the lead up to the festival.”

The Isle of Wight Festival runs until Sunday 22 June, with the Glastonbury Festival kicking off on 25 June.

While cinemas are struggling and London’s West End has witnessed a significant escalation in ticket prices, creatives behind immersive experiences say their sector is experiencing “a gold rush moment”.

From shows built around obvious fan bases – such as Mamma Mia! The Party – to those working with established intellectual property, including Squid Game: The Experience, the UK has proven to be a world leader when it comes shows that make audiences feel part of the action, rather than just observers.

Little Lion Entertainment are the team behind two shows currently running in the UK: Pac-Man Live in Manchester and the Crystal Maze Live in London.

Its CEO Tom Lionetti told Sky News: “There has been a real boom in the experience economy… It kind of feels like a bit of a gold rush moment in this industry.

“It’s not nascent anymore, it really is a big industry and it’s getting bigger.

“West End theatre is incredibly expensive at the moment and even cinema can be expensive for what it is, so I think it’s about caring about the experience … you’ve got to consider value for money these days.”

Their Crystal Maze show challenges ticketholders to climb through tunnels and collect crystals just like contestants on the ’90s programme.

And it’s one of the longest-running immersive shows in the world, still going strong in London 15 years after the concept was first staged.

“The genesis really was this idea of breaking the fourth wall,” Lionetti says. “I was an actor and I come from a theatre background, but what we were really intrigued with was giving people agency so you become the star of the show.”

Last year, according to the Gensler Research Institute’s 2025 Immersive Entertainment & Culture Industry Report, the global market for immersive entertainment was valued at £98bn – and it’s projected to reach £351bn by 2030.

Despite times being financially tough post-pandemic, while cinemas have been struggling to put bums on seats, the continued popularity of experience events could indicate consumers are being a little more choosy about what they spend their hard-earned wages on.

Our eagerness to show off on social media could also account for some of what’s driving the boom, as well as the isolating nature of how technology-dependant we’ve become.

As Secret Cinema’s senior creative director, Matt Costain, explains: “Whether it’s competitive socialising or immersive experiences, people are look for something that offers them more… and this is an example of an activity where people can come together and have a sense of community.”

Secret Cinema – which combines live performance and film screenings – has been staging events for 15 years now.

In that time, they’ve partnered with major studios from Marvel to Netflix. Their latest offering will run from August see them bring Grease’s Rydell High to life.

Costain says: “When we first started this was niche, film fans who wanted to dress up and keep a secret… but immersive has moved mainstream and we’ve found ourselves one of two or three companies who’ve been in it since the beginning.

“Part of our job as artists is to help people remember that they really love to play.”

He jokes that those “who find it the most difficult to get started” are invariably the ones “at 11pm with their tie tied around their head and dancing on a table”.

While there are many shows working with established intellectual property (IP), there are also some hugely creative original works also being produced – Storehouse being one of those.

For 16 weeks, attendees at Staged in Deptford, which was once the archival store for Rupert Murdoch’s News International, will be guided through a story that takes place inside a ‘digital memory palace’ that supposedly houses every story, message, memory, and meme since the dawn of the internet.

Produced by Sage & Jester, its lead producer Rosalyn Newbery explains: “You’re not moving into a theatre with infrastructure, put it this way, we literally had to bring electricity to the venue, bring power to the venue, bring water to the venue, none of that was there for us… it’s a big old job and there’s a lot of detail that you can’t take for granted.”

Over 7,000 crew worked more than 57,000 hours to build the set.

Getting a show of this size and scale off the ground is a feat in itself. As creative director Sophie Larsmon says: “There are a lot of people trying to get these projects off the ground and there are a lot of projects that never see the light of day…because of the hoops that have to be jumped through for licensing and financing.

“It takes huge amounts of creative effort, I’ve seen a lot of projects where quite late in the process the green light is taken away.”

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While some creators might struggle to access support because the work doesn’t fit into traditional cultural boxes, it is certainly an industry that’s worth shining a spotlight on.

As Larsom says: “The UK has always led the way in developing this form… I think people are cottoning on to the fact that this is a sector [that’s] going to be a big revenue earner for the UK.”

The Crystal Maze LIVE Experience is on in London’s West End, near Piccadilly Circus.

Grease: The Immersive Movie Musical is at Battersea Park from 1 August to 7 September.

Storehouse runs at Depford Storehouse until 20 September.

Singer Chris Brown has pleaded not guilty to attempting to cause grievous bodily harm over an alleged bottle attack at a London nightclub two years ago.

The US R&B star was arrested at a hotel in Manchester by Metropolitan Police detectives last month, after the singer flew to the city by private jet in preparation for his world tour.

The 36-year-old said he had gone “from the cage to the stage” after he was released on bail in time for the tour.

The musician had been remanded in custody following an initial hearing at Manchester Magistrates’ Court but was freed ahead of his court appearance after paying a £5m security fee to the court.

Brown is accused of attempting to unlawfully and maliciously cause grievous bodily harm with intent to Abraham Diaw at a London nightclub called Tape in Hanover Square, Mayfair, on 19 February 2023.

He confirmed his name and date of birth at Southwark Crown Court on Friday before entering his plea, saying: “Not guilty ma’am.”

His co-defendant, US national Omololu Akinlolu, 39, who performs under the name Hoody Baby, pleaded not guilty to the same charge.

Both defendants are further charged with assaulting Mr Diaw occasioning him actual bodily harm, with Brown also facing one count of having an offensive weapon – a bottle – in a public place. They were not asked to enter pleas to those charges, with a further court hearing set for 11 July.

Last month, Manchester Magistrates Court heard Mr Diaw was standing at the bar of the nightclub when he was struck several times with a bottle, before being pursued to a separate area of the venue, where he was punched and kicked repeatedly.

Around 20 people sat in the public gallery behind the dock for the hearing, many of them fans of Brown.

The singer arrived at around 9am to a large group of photographers outside court and walked to the building’s entrance in silence.

A trial date has been set for 26 October 2026.