Bedazzled in a jacket glittering with the faces of Marvin Gaye and John Lennon (yes, that fabulous), Stevie is led onto the Great Oak Stage and launches into a rousing – if technically troubled – version of Lennon’s Imagine. The mic, clearly unready for transcendence, cuts in and out. Ever the consummate professional, Stevie isn’t fazed. With an easy shrug, he shifts gears straight into Master Blaster, followed by a funk-fuelled Higher Ground that gets the field shaking their funky groove things.

Stevie Wonder @ BST Hyde Park 2025

Stevie Wonder @ BST Hyde Park 2025 (Bethan Miller-Carey)

The setlist is surprising and unpredictable, even with the expectation of classics from the Wonder songbook. From nowhere, we’re treated to a sweet, twangy rendition of 1930s crooner Jimmie Davis’ You Are My Sunshine, which melts delightfully into the full-bodied groove of Sunshine of Your Love.

Not one to take himself too seriously, Stevie checks in with the audience, flashing that familiar smile: “Y’all gooood?” (We are.) Then – as if things aren’t already glittering enough – out strolls the UK’s own Corinne Bailey Rae for a honey-rich cover of Sly & the Family Stone’s Everybody Is A Star.

Wonder reinvigorates his catalogue, rolling through hit after hit: Signed, Sealed, Delivered I’m Yours, Don’t You Worry ’Bout A Thing and My Cherie Amour – songs far too often annihilated by wedding bands – now reclaimed with their original power. Stevie admits to wanting to bring back an In Square Circle era song to “do over”, which he does to great success with the help of KJ McNeill, whose vocals on Stranger On The Shore of Love melt into Stevie’s with silky richness.

Things take a jazzier turn with a rowdy, freewheeling keyboard odyssey courtesy of Eddie Harris (not to be confused with the long-passed saxophonist). Then Jada Spight – bringing an almost alarming level of American enthusiasm – along with Janice Watts and Zuri Harris, gives Stevie a well-deserved breather as they perform classics from Anita Baker and Aretha Franklin.

In one of the night’s most playful turns, Zuri joins Stevie at the piano – teasing, joking, and stealing hearts with shimmering soul vocals. Cue a scat call-and-response with the crowd – pure Stevie fun – before he settles alone at the piano for a moving rendition of Always.

I Just Called To Say I Love You is interrupted by the gremlin microphone, but Stevie, ever the showman, restarts with grace – and then lets Hyde Park carry the chorus. It’s a full-throated, sun-drenched moment of shared joy: couples sing to each other, mothers sing to children, friends sing!  I’m alone, but I sing to the woman working at the coffee van – she sings back. The tempo rises again with a storming version of Living For The City (the crowd, by now, acting like a gospel choir on Red Bull), which spills into the full-tilt party mode of Sir Duke. Everyone is dancing: The crowd. The security team. The litter pickers.

And just when it seems things might settle, the bassline to I Wish drops. I hear a gig-goer say to their friend, “Aw, this is from Wild Wild West!” Will Smith has a lot more to answer for than that – slap!

Stevie’s family are celebrated along with him; Isn’t She Lovely features a harmonica solo so pristine it slices through the song’s potential for saccharine. His son Mandla Morris shows his range on a cover of Keith John’s I Can Only Be Me, followed comically by a dad lecture about social media disconnection. “Get your heads up,” Stevie urges, with another mic stumble for good measure. Happy Birthday becomes a perfectly timed opportunity to honour his daughter, whose birthday it is.

The inevitable encore of Superstition loses nothing for being held back. The sheer force of keys, fat horns and full-throated vocals blows everybody’s hair back. As and Another Star are a bonus to a music-loaded evening, which leaves the crowd filled with joy and optimism.

Stevie Wonder @ BST Hyde Park 2025

Stevie Wonder @ BST Hyde Park 2025 (Bethan Miller-Carey)

Live review of Stevie Wonder @ BST Hyde Park 2025 by Sarah Sievers on 12th July 2025. Photography from Isha Shah, Bethan Miller-Carey & Chloe Hashemi.

Dance, Shadow And Harvest Under The Full Moon: Van Morrison, Yusuf Islam And Neil Young And The Chrome Hearts At BST Hyde Park 2025

Neil Young @ BST Hyde Park

Neil Young @ BST Hyde Park (Trudi Knight)

Van Morrison and his band bring cool relief, easing the crowd into the day with sultry summer blues, as the sun drips down in copper light across the park. He’s a class act, proficiently picking through a curated set of hits, slow grooves, and covers. He opens with Into The Mystic, meanders through Roosevelt Sykes’ Night Time Is The Right Time, and finishes with a slinky version of Gloria (originally by Morrison’s long-ago band, Them).

When Yusuf Islam (formerly known as Cat Stevens) arrives on stage, he looks as fresh and unaffected by time as a Hollywood star. He could be a poster boy for decades of wholesome, clean living. I doubt Morrison or Young could say the same.

He opens with the timeless and beautiful The Wind, its familiarity and charm holding the audience spellbound.  Each song is met with warm affection. He quietly dedicates Midday (Avoid City After Dark) to Van Morrison, saying simply: “I just love him.” Before The First Cut Is The Deepest, he teases, “This is an oldie – I don’t know if you’ll remember it.” Judging by me and my fellow gig goers, I think he’s on safe ground.

He points to the sky – barely on the cusp of twilight – noting it’s a full moon. A perfect cue for the nostalgic, whisper-sung meditation on gratitude, Moonshadow.  Before launching into blues number The Road To Find Out, he takes a moment to plug his book, Cat On The Road To Find Out, joking that it will “clarify what people got wrong and what people got right.” His blues chops shine again on Big Boss Man.

Between Where Do the Children Play? and The Little Ones, he stumbles over the pronunciation of his band members’ names, rushing to deliver a heartfelt statement about global violence, marking the 30th anniversary of the Srebrenica massacre in Bosnia and highlighting the ongoing conflict in Gaza.

He ends his set with three perfect hits: the wistful If You Want To Sing Out, Sing Out (immortalised by the 1971 film Harold and Maude), Wild World, which sees his drummer hit the crescendo in a state of joyful elation, and Peace Train, which runs slightly over his allotted time. “Everyone needs to hear this song today,” he asserts, and yes, we do.

Nothing quite prepares the crowd for what Neil Young brings. He starts gently, easing in with Cowgirl In The Sand, before unleashing the fuzz-drenched, distorted guitars that earned him the title ‘Godfather of Grunge’.

Micah Nelson’s band, The Chrome Hearts, have taken over from brother Lukas Nelson’s Promise Of The Real as Young’s latest musical apprentices. They intensely follow his lead, taking notes on orchestration in real time. They’re a hard-rocking band – heavy on reverb, feedback, and raw energy.

The rock numbers stretch out, studded with lengthy guitar breaks and chaotic fills. At times, Nelson hammers an upright piano – is there anything more Americana rock ‘n’ roll than that?  Cinnamon Girl is a swirling mass of guitars and throbbing bass, with Young’s reedy, high voice soaring above the dirge. Before Why Do I Keep Fuckin’ Up? he shrugs: “It’s nice to be here. Sometimes we do things right, and sometimes we do things wrong.” Southern Man tightens the sound, and then we’re treated to a brief, soothing acoustic interlude with Needle And The Damage Done and the lovers’ favourite, Harvest Moon. Compared to the jam-heavy rock numbers, these acoustic moments are short and sweet.

Young dives straight back into the fire, ripping through Hey Hey, My My (Into the Black) before settling at the organ with his harmonica for CSNY’s Name Of Love, and rounding off the main set with acoustic classic Old Man.  But he’s not done. Young has the energy and passion to keep going, and the crowd show no sign of wanting him to stop. He tears into Throw Your Hatred Down, followed by a specially extended, almost never-ending version of Rockin’ In The Free World – designed to test the patience of the BST organisers and the 10:30pm curfew.

If you want rebellious music – if you want the true spirit of rock ’n’ roll – nothing beats the original. And no one does it better than Neil Young.

Live review of Neil Young And The Chrome Hearts + Yusuf Cat Stevens @ BST Hyde Park 2025 by Sarah Sievers. Photography by Trudi Knight.

Northern Attitude In London: Noah Kahan, Gracie Abrams & Friends Light Up BST Hyde Park 2025

Stevie Nicks

Stevie Nicks (Jennifer McCord)

Paris Paloma starts early in the lineup with a range of songs from her forthcoming album. She offers pretty, folkloric songs with pertinent modern messages on the female experience. Her explosion is largely thanks to her song, Labour, which became a viral phenomenon. The original release was a delicate acoustic song. The message of the disproportionately engendered workload resonated with so many women that they stitched it into their TikTok videos, harmonising with their own vocals. Paloma harvested the voices and re-released the song as the anthemic Labour (Cacophany). Which, in turn, gained incredible traction and made her well-known across social media. The late afternoon crowd do not disappoint in bringing the sense of solidarity created online to life in the real world. The chanting chorus becomes a chant, shouted in frustration and catharsis.

Paris Paloma

Paris Paloma (Jennifer McCord)

Anna Calvi cuts an angular feminine silhouette against the blood-red backdrop as the crowd grows and settles in. She introduces her set with a dreamy guitar solo, demonstrating her dual skill with vocals and instrumental balancing both with beauty and technique. Her velvety vibrato drifts across London as she stands strong and understated in a black 80s power suit and sunglasses. She throws her head back and shreds her guitar to Suzanne & I. The melodies are, in a moment, mysterious and, in the next, crashing into a drum-smashing crescendo. Lush melodies and echoing chords give her music a Lynchian atmosphere. She remains effortlessly cool as the weather begins to warm, winding down her set with her foray into pop, Don’t Beat The Girl Out Of My Boy.

Anna Calvi

Anna Calvi (Sharon Lopez)

Brandi Carlile wakes a restful crowd with a charismatic shout-out, “How ya doin’ London, you angels?!” Before launching into country-tinged rocking Broken Horses. Overwhelmed, disbelieving and joyous to play such a substantial gig, the Seattle-based frontwoman cannot stop smiling. Her happiness is infectious. Taking in the scene, she recalls the bygone days of playing small venues like London’s Borderline. With a warm generosity, she takes time between songs to thank her band of 25 years. What a tight and talented band they are. They are composed of two pairs of siblings, twins Phil and Tim Hanseroth, the classically trained Sista Strings: Monique and Chauntee Ross on cello and violin, alongside Dave MacKay on keys and the human dynamo Abe Laboriel Jr. on drums. Amongst the high-energy rock are tender songs that take advantage of the close three-part harmonies of The Eye and The Mother.

Brandi Carlile

Brandi Carlile (Phoebe Fox)

A recording of Tom Petty’s Running Down A Dream blasts as the stage is set, and chains of sparkling jewels and ribbons the colour of an oil slick hang from a mic stand in the centre. Like a Chekov’s pistol, a crescent-shaped tambourine decorated in fabric swathes is conspicuously placed on a plinth behind. The audience takes a collective in-breath before releasing a cry of awe at the arrival of Stevie Nicks in her trademark velvet Victoriana jacket and multi-tiered skirts. Time has stepped her down from her high-heeled boots, now replaced by bejewelled trousers and trainers to make her iconic twirls more achievable. Her opening number of Outside The Rain showcases her barely changed voice as the music smoothly transitions into Fleetwood Mac classic Dreams.

Between songs, her rambling stories start to lose the crowd, which disintegrates into chatter. Periodically, she hits a razor-sharp punchline, but vamping is not her strong suit. A lengthy preamble brings her to Gypsy. A note on the mysteries of the feminine: Hollywood films would have you believe that women, left to their own devices, spin around hysterically on beaches and mountaintops to benefit their loved ones’ future memories of adoration. The truth is that women only voluntarily spin and twirl whenever they hear Stevie Nicks sing Gypsy. This is demonstrated by hundreds of bohemian garments being fanned and swirled with wild abandon. It’s a beautiful sight.

She tells another anecdote: “I decided in my 18-year-old arrogance to record this song, and I did… two years ago!” The song is Buffalo Springfield’s For What It’s Worth she explains it was not written as a political song (it was originally about the Sunset Strip in LA) but that it can be interpreted as a caution and a reminder to engage in the events of the world in particular to vote. Having once convinced a fractured Fleetwood Mac to reform for President Clinton’s inauguration, it is clear that the threat of Trump returning to power is at the forefront of her mind. Also on her mind are her dearly departed friends; she notes tenderly that the last time she shared a stage with Tom Petty was here at Hyde Park in 2017, only weeks before his death. In tribute, she plays a rousing cover of Free Fallin’, which unites the audience into a giant choir.

Stevie Nicks

Stevie Nicks (Jennifer McCord)

Mid-career numbers like Stand Back and Belladonna keep the audience engaged, but Gold Dust Woman ignites a passionate response. She casts the lyrics like a spell, set back in a half squat like she’s channelling her message into the cosmos. Given the legendary rock ‘n’ roll mythology surrounding the doomed relationships and affairs within Fleetwood Mac, I like to think somewhere out there is Lyndsey Buckingham on the receiving end of all that psychic energy, feeling a sharp pain in his SI joint and thinking to himself, “Hmmm… Stevie’s playing somewhere…” A friendlier voice, in the form of expert vocal coach Steve Real, joins the stage to step into Don Henley’s part for the gentler romance of Leather And Lace. Real is a singular talent, and the thoughtful harmonies are exquisite.

When Stevie Nicks leaves the stage between songs, the break gives her stalwart band opportunities to open up some delicious bluesy guitar solos and drum fills, which act as segues—no more so than on the instantly familiar intro to Edge Of Seventeen, a 43-year-old song which still conjures up the urgency and thrill of youthful desire.

A much-demanded encore of mega-hit Rhiannon is quickly chased with a surprise guest vocalist, Harry Styles. Styles stepped in to partner Nicks in lieu of Tom Petty on a slinky version of Stop Draggin’ My Heart Around. He stayed to perform an emotional rendition of Landslide, which Nicks dedicates to her late, beloved former bandmate Christine McVie. The photo montage of McVie and Nicks of images taken through the ages encouraged the shedding of tears and unavoidable quivering lips on the faces illuminated by the screens.

Stevie Nicks’ music is a gift passed between generations, particularly meaningful to those who experience girlhood and womanhood. These thoughtful songs have broken barriers to convey love, power, yearning, reflection, and forgiveness. Songs formed by one woman’s experience are sure to outlive her and be carried forward by generations persuaded of the value and power of a 21st-century woman. In her own words, “Rock on, ancient Queen.”

Live review of BST Hyde Park 2024 featuring Stevie Nicks at Hyde Park, London on 12th July 2024 by Sarah Sievers

Rock DJ Robbie Williams Entertains Us With The Glamour And The Party At BST Hyde Park 2024

Opening act Lambrini Girls show how the spirit of punk lives on shouting through songs of the modern-day perils of being a woman, including, Big Dick Energy, Help Me I’m Gay and the glorious call out of street harassment, White Van Man. They don’t see the point of remaining on stage when they can get right into the crowd to get their point across. Expect to see much more from this dynamic, Brighton-based three-piece band.

Lambrini Girls, Dog Day Afternoon, 23/7/1, Rockshot Magazine

Lambrini Girls, photographer : Pauline Di Silvestro

The Buzzcocks open with the rousing What Do I Get? They look almost obnoxiously young, tanned and summery. Life seems to have been kind since the 70s. They offer up a mix of classic and new songs. More recent songs like, Senses Out Of Control sound fresh and perfectly at home in their catalogue.

Stiff Little Fingers deliver a tight set of a dozen songs including a lovely cover of The Specials, Doesn’t Make It Right in honour of the late, great Terry Hall. Frontman, Jake Burns, segues and observations add some charm, he promises, “to keep the gibber banner to a minimum”, but he has some valuable things to say. By way of an intro to My Dark Places, he reflects on the period when he turned 50 and how he was in a deep depression he felt he could only keep it bottled up. He advised men, of any age experiencing depression to definitely do not do that, “Talk to a friend, a family member or a professional but do talk”. A healthy portion of the crowd seemed to endorse this message.

Stiff Little Fingers, Dog Day Afternoon 23/7/1, Pauline Di Silvestro

Stiff Little Fingers, photographer : Pauline Di Silvestro

Arriving to the throbbing synth film score intro to Clockwork Orange. Generation Sex is a supergroup comprised of Generation X and the Sex Pistols: Paul Cook, Tony James, Steve Jones and Billy Idol. They rip into the Sex Pistols Pretty Vacant. The performance is relaxed, and they slink into a comically apathetic chorus of, “We’re pretty vacant and we don’t ca…re….” Idol sounds most like himself on Generation X songs and recalibrates a touch for Sex Pistols songs, without trying to impersonate a notably absent Johnny Rotten. Barely moving around the stage, Idol brandishes his trademark snarl to emphasise aggression where there might have once been furious dancing. Getting a huge laugh from the crowd, Cook is the first to admit, “I fink I pulled a muscle. This one, not the other one.”

In some ways, punk has always absorbed the outcasts, they were a group literally defined by otherness. Ahead of Kiss Me Deadly, Idol comments on what it was like being a punk in 77. “Those days it was dangerous to be a punk, there were so many other youth groups who were determined to kick the shit out of you”. In 1977 could it have been predicted that the same gobby, spitting, punching punks would become the most polite, considerate, and inclusive crowd? What a joy it is then, to see the grace with which older and disabled people are integrated into the audience. People in wheelchairs are given space to get closer, and fans with canes compare designs (in one case glitter, or tiger print). Perhaps a shameful omission then is that there was no BSL interpreter.

Wrapping up the set, Idol does triple duty taking on the role of Sid Vicious on a sedate finale of My Way.

Generation Sex, Dog Day Afternoon 23/7/1 Pauline Di Silvestro

Generation Sex, photographer : Pauline Di Silvestro

Blondie (who could be considered co-headliners for the number of fans who have turned out just for them) take the stage with great bravado, re-introducing Glen Matlock on bass who has become at least a touring member of the band. They efficiently zip through a tight set of greatest hits, opening with One Way or Another, a rowdy version of Hanging on the Telephone, jaunty Sunday Girl and slick Call Me. The synth parts of the later supplied by Matt Katz-Bohen on keyboard guitar (which beyond practicality seems to be having a resurgence).

The sheer power of this band blows everybody’s hair back with Atomic the clarity of Harry’s voice still so clear and melodic. She only wavers a little on the incredibly challenging vocal of Rapture, ever the pro she makes tiny adjustments to regain control. The rap portion of Rapture has mellowed over the years and is mildly less jarring in its delivery if not its content. Harry is still full of energy dancing through the guitar solo, switching her hips and surveying the crowd with an impervious attitude. She addresses everyone, “If we are your dream, then you, you are our dream.” You’d be hard-pressed to find anyone as cool as Debbie Harry is at this stage of her life, incredibly today marks her 78^th Birthday.

Harry remarks that their 1978 release, Detroit 442, is inspired by Iggy Pop painting a picture of the longevous and appreciative relationship between both acts.  The set strides along with 00s chart topper Maria and a flawless performance of Heart of Glass, with Harry looking regal, dressed in a mirrored poncho. The beat from the trail off of, “oooo-oo-woah-oh” becomes the bass of disco classic I Feel Love with Debbie’s haunting vocal layered on top before transitioning into the riff of Sex Pistols hit God Save The Queen. They ease off the gas a little with X Offender before wrapping with Dreaming.

Blondie, Dog Day Afternoon 23/7/1, Pauline Di Silvestro

Blondie, photographer : Pauline Di Silvestro

The headline set starts with Rune by Noveller (aka Sarah Lipstate) who picks out a heartbeat on guitar before elaborating into an ambient wall of sound by bowing her guitar in dreamy swirls – suddenly the spell is broken with an explosion of barking dogs as Iggy Pop shoots onto the stage like a bullet, disrupting the serenity, the whole band (including a brass section and clanking piano) take up the cacophony.

They blast through songs from Pop’s solo career and time with The Stooges, like the awesome Raw Power – which is.

Pop’s body may look worn; veins raised above the outline of his muscles, the folds of his tanned skin stretched over a strong frame, and his hip (injured long ago) forced out at a disquieting angle, but he moves like lightning and is electrifying as he gyrates around the stage.

Iggy Pop, Dog Day Afternoon 23/7/1, Pauline Di Silvestro

Iggy Pop, photographer : Pauline Di Silvestro

The Passenger is a crowd-pleasing joy that energises the whole audience before he slams into Lust For Life, then drifts into a hypnotic rendition of low-fi reggae The Endless Sea which brings everyone back to calm.

Bringing out core hits so early on has thinned the crowd dramatically by the time he rips through Death Trip. After a little banter with the crowd, he rests for a moment for a dreamy, blues-laden reworking of The Stooges I’m Sick Of You.

Ahead of tearing the place up with Search and Destroy and before an extended encore, including Nightclubbing and Frenzy: A sleazy jazz intro acts as cover until Pop sticks the mic in his trouser band and starts barking and panting, the audience has to hope he’s going to play Now I Wanna Be Your Dog because if he’s not, he’s having some kind of breakdown. He writhes around the stage and drops down on the bridge to tell the audience “I fucking love you”.

We love you too.

Review of Dog Day Afternoon at Crystal Palace Park on 1st July 2023 by Sarah Sievers. Photography by Pauline Di Silvestro.

Peter Gabriel From The Fireside To Artificial Intelligence: Input/Output Tour At The O2 Arena

To stop you from falling foul and risking your enjoyment of the festival, I will share some hard-earned wisdom with you to make sure you get the most out of your visit.

What to Pack and What to Wear

The British weather is changeable, and you will spend the day and evening exposed to whatever the elements will throw at you.  Dress in layers, if possible, it may be scorching when you arrive but if you are staying for the headline act expect the temperature to drop dramatically.  You are likely to feel this more intensely after a day of sun exposure.

A hat is an absolute necessity, although the site is tree-lined anywhere you position yourself to view the bands will be unsheltered.   

You will be limited to strictly A4 size bags, don’t roll the dice on this one folks, the security team will thank you.  As for what goes in your bag, my best advice is to bring money, an empty water bottle and factor 50 sunscreen.  I also recommend bringing a small blanket, this will allow you to mark out your area to sit and relax or help your friends find you.  It can function as a wrap if you get cold or folded up as a cushion if you stay seated for a bottom numbing length of  time.

Queues and Entry

If you are collecting your tickets at the event, go straight to the main Box Office. You will need to present the credit or debit card you purchased your tickets, your photo ID and a copy of your email confirmation.

All Box Offices are located on the South Entrance of the event site, on Serpentine Road.  The nearest tube station is Hyde Park Corner.  If you have a Priority Entry ticket this is also a dedicated entry gate for you to enjoy and the VIP area is situated close to this gate.

If you already have your ticket you can enter by the North Entrance, the nearest tube is Marble Arch.

For the Hearing and Hearing Impaired

If you are a regular gig goer, I recommend you invest in pro-level ear defenders, they last a long time if you look after them and have replaceable components, companies like Loop and Decibels have customisable options.  If you are not ready to make that commitment don’t let your hearing suffer.  You don’t have to buy them from the pharmacy, the First Aid stand at the site has disposables for free, you only need to ask.

For music lovers who are hearing impaired or deaf, BST is inclusive.  BSL translators are broadcast on additional screens at every audience marker.  Good translation is an art form and BST have consistently hired some of the most musically minded signers – they can be just as entertaining to watch as the acts on stage.

There’s More than One Stage

Remember to walk around. Aside from the Great Oak Stage, there is the Rainbow Stage which has acts on while the main stage is being turned over between acts.  There is also a small bandstand stage  (near the South Entrance)  showcasing new and emerging music where you can discover some absolute gems.

Mix it up on your way to the loo with a detour to the Cuban and Garage Stage for a moment of unbridled dancing.

Eating and Drinking

The ice will run out before the music does, sorry.  There are so many onsite bars that you will not go dry.  Drinking water taps provided free of charge, so do pack that empty water bottle!

Food options are plentiful and varied.  Big shout out to last year’s Yorkshire Pudding Burritos, and the incredible amount of vegan representation.

Festival Loos

The facilities at BST are extremely well run, they have never run out of toilet paper in my experience.  Be extra prepared with your own anti-bac wipes or hand sanitiser as the hand-washing stations are not always up to the task and sometimes run out of soap.

To VIP or not to VIP?

VIP tickets will include an exclusive area with a small amount of seating and a selection of food and drink outlets, they also have marginally fancier loos with sinks.  The drawback is that you will be away from the music when you use the ’Summer Garden’.  The VIP and Priority access areas also occupies the cordoned-off area closest to the stage.

Amex users may have access to a separate American Express viewing platform with some seating with shade and a dedicated bar.

At the End of the Day

When you leave you can use either exit, regardless of your ticket type.  Smart people check on their best travel strategy ahead of time.  It is best not to leave this bit of organisation until you are sun-baked after day-drinking!   If you can cope with starting to make your way towards an exit during the encore you will be at a massive advantage getting ahead of the tsunami of people.

If you are grabbing an Uber/Lyft or have booked a cab the best pick spot to avoid traffic, other people and the one-way system is a short walk from the North Entrance at La Gavroche restaurant (taxis know it and it is off the ‘main drag’).

For all of the rules and regulations associated with different ticket types please go to the BST website.

For all of the best coverage of the BST festival series follow Rockshot Magazine on socials. Hopefully, we’ll see you there!

Words by Sarah Sievers and photos by Kalpesh Patel

Pearl Jam at BST Hyde Park 2022: An Intimate Show On A Massive Scale