It was a hot summer day at Worthy Farm in Somerset when British rap-punk act Bob Vylan took to the West Holts Stage at the Glastonbury Festival – a stage long known as a platform for political messages. But what happened on Saturday, June 28, 2025, has divided the United Kingdom: While thousands clapped in rhythm and chanted “Free, Free Palestine,” frontman Bobby Vylan added another slogan that is now sending political, legal, and social shockwaves through the country – “Death to the IDF” – death to the Israeli army. On Monday, the BBC responded. The livestream should have been pulled, it now says in a public statement of remorse. While the network claims to respect freedom of speech, it called this “incitement to violence.” Prime Minister Keir Starmer described it as “abhorrent hate speech” and demanded clarification: “The BBC must explain how such scenes were allowed to be broadcast live.” Media regulator Ofcom also expressed it was “very concerned” and announced an investigation. The debate is in full swing – about the power of words, the responsibility of artists, and where protest ends and incitement begins.
Bob Vylan – active since 2017, with four albums addressing racism, masculinity, and class struggle – is known for a confrontational stance. But this time, the provocation was no longer artistic play. “Death to the IDF” – this is not merely an anti-war slogan but a call that many view as antisemitic, because it indiscriminately targets an institution that represents the state of Israel. Even if the criticism is formally directed at the military, the line between army and people, between state and society, quickly fades in the public echo. This is precisely where the line lies – between legitimate protest and dangerous oversimplification – a line Bob Vylan likely crossed deliberately. In a statement posted on social media, Bobby Vylan defended himself, saying it was important to encourage children to “stand up for the change they want and need.” But while that may sound like educational idealism, it stands in stark contrast to the reality and weight of the words spoken. “Death to the IDF” is not just a political slogan – it is a call to violence, directed at soldiers, fathers, human beings. And in a time when a bloody war is raging in the Middle East, every word becomes an instrument – for reconciliation or for cruelty.
Since the collapse of the ceasefire between Israel and Hamas in March 2025, more than 56,000 people have been killed and 132,000 injured in Gaza, according to Gaza’s Ministry of Health – among them countless women and children. Israel’s government says it is targeting terrorists, while Hamas is accused of using civilians as human shields. The truth – as always in war – is contested, wounded, fragmented. But what remains indisputable is this: The images from Gaza depict a humanitarian catastrophe. And those who shout slogans that call for more violence in the face of this suffering add a new, painful layer to the tragedy – in the concert halls of the West. The BBC had displayed a warning during Bob Vylan’s performance – about “strong and discriminatory language.” But the fact that this proved insufficient shows the gravity of what followed. The responsibility for what is broadcast does not begin with the viewer – it begins with the broadcaster. That Glastonbury is a place of political art is undisputed – from Beyoncé to Stormzy, many musicians have raised their voices here. But never before has it sounded so militant, so merciless. The Bob Vylan case is more than a media storm – it is a litmus test for the state of our culture of debate. For some, it is bold resistance against military injustice – for others, sheer antisemitic hate speech. The truth perhaps lies in the brutality of the war itself. But also in the responsibility of the one who holds the microphone. Because anyone speaking to tens of thousands is never speaking only for themselves. And Glastonbury fell silent after that line. Silent like an open wound.
English 
German 
