It turns out that Harry Styles will not be performing at the 2022 Glastonbury as a guest appearance during Kendrick Lamar’s performance. However, there is evidence from the Farm Worthy site that he has been swimming at the exclusive Babington House hotel, unlike the former One Direction star Eminem. This time, the circulating rumors about Harry Styles making a secret guest appearance during the headline sets at Glastonbury in 2022 have drawn close attention.
Slim Shady makes an unexpected entrance, causing a disturbance to something that is evidently not constructed. In the midst of DNA, a massive Parental Guidance label emerges. Standing tall above him, The Blacker the Berry unfolds with its most furious line – “You despise me, don’t you” – displaying segments of his lyrics in immense fonts behind Lamar. Often illuminated in striking white light, it is also exquisitely illuminated, featuring two groups of dancers, one exclusively male and the other entirely female, whose motions transition from graceful to disciplined. Lamar’s performance is intricately coordinated.
The final section of DAMN.’S 2017 draws on the ever-potent sounds of Kunta King Butterfly: a Pimp To a Butterfly, as the ferocious chorus of Alright is followed by the big hitters from the last album. Lamar is surrounded by two woozily writhing dancers as he performs on a stage literally shaking with the bass-heavy sound. The screens at the side of the stage display the frantic rhythm of the opening track, Grief, in United. The performance is heavily influenced by his chronological catalogue, with tracks from his recent album, Big Steppers and Mr. Morale, sprinkled lightly throughout.
HD clarity kind of with flows astonishingly his delivers he live, recently emerged as a technically gifted rapper. Although he spends a surprisingly lengthy time period walking forwards and backwards across the stage in silence, nodding his head as the crowd stares, he amazes with his amazing sounds. But if his sheer size takes over, he is grateful to be at Glastonbury, telling you how grateful and in disbelief he is, shaking his head.
It is a striking and powerful performance, but unexpectedly it ends up short-circuiting. He walks off the stage and throws down his microphone. Then, his voice gradually grows more enraged and hoarse as he repeats the lines “godspeed, Christ judged they, you judge They” acapella, rapping about women’s rights. The track ends when Lamar starts dripping blood from his face, with a crown of thorns adorned. Big and Mr. Morale, vexed by the responses to his acclaim and celebrity, launch Lamar into the role of a Saviour. The finale is authentically stunning, but the screens are plunged into darkness and the stage seems slightly disjointed, with frequent periods interspersed throughout the tracks.