But festival sets are another thing. They are not just the music, they are everything else in between. Conjuring up memories of the whole weekend and where it fits into the story of your life - who you were with, the weather, the sets you missed, the people you met, the journey there and the journey home, the comedown.

Festivals aren’t always just about the music. Your make-shift campsite, the people you camp with, the people you meet and the things you share are all part of the experience too. However, watching live music and discovering new bands are definitely what makes a festival memorable.

I was trying to cook and needed something to listen to but for all the marvels of the modern world, with every song ever written at my fingertips, I could not choose. Did I want something sad, or would that make it worse? Happy, or would that feel false? Could I cope with new music, or would that exhaust me? The answer was simple: radio.

Music allows me a special kind of freedom, it unlocks a deep corner of my imagination and gives me physical symptoms for just how much I love it - I’m talking goosebumps, shivers and smiling ear to ear. The kind of things that if you did them on a public bus people would move very far away. A lot further than two metres I’m telling you. (Not that I know from experience or anything.)

When I say to think of a drummer, I guarantee you that the image of them will be a white male. Your inner feminist will fight it but you’re not to blame, we can blame the patriarchal society we all live in.

Tom Cox sums this aspect of guilty pleasures up perfectly in his tweet: ‘What people mean by the term “guilty pleasure” 99.5% of the time is “something genuinely joyous pretentious dickheads told me not to like’’.

So, it seems that the idea that politics has a place in music is pretty undeniable. However, where the debate about the place of politics in music has become particularly controversial and difficult to navigate is with regards to cultural appropriation.