Though Summer passed away in 2012, her legacy feels more alive than ever. Announced by The Songwriters Hall of Fame this week following a posthumous ceremony of honour, her induction is not only a tribute to the icon but also a renewed celebration of disco’s artistry and cultural significance, something often underappreciated during its heyday.

When single ‘Love to Love You Baby’ arrived in 1975, it scandalised and seduced in equal measure. Produced by Giorgio Moroder and Pete Bellotte, its early-electronic throb and hypnotic sensuality marked the dawn of a new era. Together, Summer and Moroder created a sound that would become the foundation of modern pop, electronic and dance music- a fusion of pulsing synthesisers, lush instrumentalism and an unrelenting rhythm that captured the euphoria of the dancefloor.

Summer’s voice moved effortlessly between intimacy and ecstasy, from the subdued sighs of ‘I Feel Love’ to the defiant drive of ‘Hot Stuff’. Her performances gave the music something that technology alone could never provide: soul. As electronic instruments rose to prominence, she humanised them, making the robotic feel romantic.

‘I Feel Love’, released in 1977, has since been acknowledged as one of the most influential recordings in modern music history. It anticipated techno, house and the digital revolution that would dominate later decades. Brian Eno famously told David Bowie that the song would change the future of music. The likes of Madonna, Beyoncé, and Kylie Minogue have drawn from Summer’s work, featuring pulsating beats, sensual liberation and unfiltered confidence, using iconic samples directly from her music (E.g, Beyoncé’s ‘Naughty Girl’).

But Summer’s career went far beyond disco’s mirrored ball. She was a pop star who transcended genre, finding strength in reinvention. Hits like ‘Bad Girls’ and ‘She Works Hard for the Money’ showcased her versatility while grounding her in anthems of empowerment and endurance. She balanced the divine and the everyday, glitz and gospel, turning dance music into something deeply human.

This Hall of Fame induction cements her legacy as more than a disco legend; it affirms her as one of the great innovators of modern sound. The genre she helped pioneer was once dismissed as disposable, but without disco’s rhythmic DNA, electronic pop as we know it wouldn’t exist.

Donna Summer made people dance, but she also made them feel free. Her records offered escape and empowerment in equal measure, celebrating self-expression and joy at a time when both were political. As the Hall of Fame recognises her monumental impact, the lights of the dancefloor glow a little brighter, now illuminated by the powerhouse who helped build it.

Other 2025 inductees included hugely regarded performers like Outkast, Cyndi Lauper, Sound Garden, The White Stripes, each honoured in the November ceremony.

Wow: @BlondieOfficial just played hit-packed set honouring Donna Summer and Sex Pistols – featuring former Pistol and fellow icon @GlenMatlock himself no less. Here’s what went down#glastonbury2023 #NMEGlasto https://t.co/ngqCDKe3yZ

— NME (@NME) June 25, 2023

Blondie are legendary veterans in this scene and this was never more apparent than during their Pyramid Stage set that saw the crowd served with hit after hit, in a career spanning performance that certainly pleased older members within Worthy Farm but in no doubt grabbed the attention of younger ones as well.

When looking at the setlist the band decided on for this party atmosphere on Glastonbury’s final day, it simply defies belief how many bona fide hits Blondie has- a testament to just how important they were to the 1970s and 80s new wave scene and beyond. As the opening notes of “One Way Or Another” rang out across the sun scorched grounds, the crowd were instantly whipped into an excited frenzy as “Hanging on the Telephone” and “Call Me” followed in quick succession.

The catalyst behind the exhilaration that Blondie brought to the stage was provided by front-woman Debbie Harry-a truly iconic hero of the ‘underground’ New York City scene. And what a triumphant statement for the 77 year old to make, literally lighting up the Pyramid Stage with her mere presence and charisma.

Wearing a CBGB t- shirt, lest anyone forget the punk roots of the band that soon would become by-words for funk and disco, Harry looked every bit the alternative pop-punk goddess that she has long been touted as. And very few would argue the point, as the singer worked the stage like she was rolling back the years-providing a glimpse of what the group must have been like to behold in their prime.

Blondie are a great band…..Debbie Harry is an icon…..and Rapture is a terrific song. They’ve still got it and she’s never lost it. #Blondie #Glastonbury2023 #Glastonbury pic.twitter.com/Wdq3Nshq2s — All about Steve (@1StevieKilner) June 25, 2023

Belting out hits like “Hanging on the Telephone” and “Atomic” while sharing the stage with original Sex Pistols member Glen Matlock, Blondie seemed to be closing the circle-Harry occasionally sidling over to the bassist while he provided backing vocals with a big smile on his face.

#Blondie at Glastonbury with hit after hit after hit. Debbie Harry unbelievable for 77 and with one of my favourite bass players @GlenMatlock. DO NOT DISTURB pic.twitter.com/A3cyODuuCk

— (C)hris Cooper (@ChrisCoopsSport) June 25, 2023

As Blondie neared the end of their set and the notes to “Heart of Glass” rang out across the stage, the crowd, already in the palm of Harry’s hand, was treated to a rousing tribute to Donna Summer as her hit song “I Feel Love” was woven into the disco inspired classic. The Sex Pistols were also saluted with “God Save the Queen” interposed into the song as well.

For many before Sunday, the idea that Blondie would play the Pyramid Stage would pass with a shrug-a golden oldie being granted their due but after witnessing the raw and magnetic performance of a band, seemingly on top of their game, more than a few will earmark Blondie as one of their very favourite live acts.