When Kasabian were announced as the closing act for Glastonbury at Worthy Farm, reactions were mixed. The controversy surrounding Metallica’s headline slot on Saturday night—being the first heavy metal band to top the bill—briefly shifted attention away from the Leicester lads. But in reality, the debate was unnecessary. Few British bands today could match Kasabian’s energy and presence for such a momentous occasion.
Tom Meighan doesn’t need a rockstar persona or an exaggerated American twang to command Glastonbury—Kasabian are the real deal. Armed with a setlist packed with anthems, they were poised to deliver an electrifying performance. Their latest album, 48:13—named after its total runtime—was set to be the soundtrack of the summer.
Following Velociraptor!, Kasabian have evolved once more, blending indie rock with distorted electronics and earth-shattering beats. Written and produced by Serge Pizzorno in his home studio in Leicester, the album left Meighan speechless upon first listen.
The journey begins with Shiva, a cinematic, Blade Runner-esque instrumental that lulls listeners into a false sense of security. Then, the senses are obliterated by Bumblebeee, a track bursting with fat beats and distorted vocals. Meighan’s refrain, “When we’re together I’m in ecstasy,” builds towards a monster chorus, complete with a heavy drop and Paul’s Boutique-style instrumentation. This is quintessential Kasabian—bold, dynamic, and an instant classic.
Stevie is another powerhouse, a thunderous track with anthemic singalong moments, while Doomsday injects a reggae-infused beat into the mix. The album’s centrepiece, Treat, is exactly that—a pulsating fusion of Prodigy-like synths, pounding drum and bass, and hypnotic trance elements. As the song breaks down into a throbbing bassline and driving rhythm, it becomes a festival-ready masterpiece.
In Glass, Serge pleads, “Save me from this world,” over a melancholic, pulsating beat. Midway through, a spoken-word segment by Suli Breaks adds unexpected depth—initially jarring but ultimately fitting after a few listens. Then there’s Eez-eh, the album’s playful, infectious first single, with its nonsensical yet socially observant lyrics about Google surveillance. It’s pure fun, designed to make ravers pull faces and bounce across festival fields.
With 48:13, Kasabian have crafted a record that expands their sonic horizons while staying true to their roots. It’s a collection of immersive soundscapes and euphoric anthems, proving they’re far more than just a “lads’ band.” This is their most accomplished album yet. And once you dive in, it’s over far too soon.
great stuff
do you think so?
yes