T at 20 T in the Park

This programme contains some strong language.

2013 is the 20th year of Scotland's biggest music festival -

T in the Park.

Having become one of the UK's favourite festivals,

T is a highlight of the musical calendar...

It's like Scotland's Christmas.

..known for its unique atmosphere...

It's a rock 'n' roll explosion, innit?

..and passionate crowd...

It's pretty wild! HE LAUGHS

..it's gained an international name for itself.

You know, you go anywhere in the world,

there's always people that have heard of T in the Park so it's...

really got a hell of a reputation.

Its diverse line-up has seen some of the biggest names in music

appear on its stages.

Some even before they hit the big time.

I even think The Verve might have been on when they were called Verve.

Before they had a "The".

Now one of the most important and critically acclaimed music events

on the festival circuit, it's come a long way since it started in 1994.

It was such a leap into the unknown.

You know, it's a business,

the musical equivalent of jumping off a cliff without a parachute.

So, to celebrate T at 20, we'll be showing you some of the best

performances from nearly two decades of live music.

T in the Park was the idea of Stuart Clumpas,

the founder of Glasgow-based music promotions company DF Concerts.

With a wealth of experience putting on live gigs, Stuart,

alongside colleague Geoff Ellis,

decided it was time Scotland had some music alfresco.

In the early '90s, there wasn't really an outdoor culture in Scotland

for concerts, everyone thought it rained so much

that nobody would go and see a show outdoors.

The whole concept of standing in a field, you know,

open to the elements and seeing a whole load of different

bands on the bill was completely and utterly alien.

And we were like, "There's a festival in Scotland?! What?!

"There's a festival in Scotland?

"That's one way of keeping them up there, I suppose, during June.

"It saves them all going Glastonbury, don't it?"

You can't wear nice clothes to a field, you know?

I just thought festivals were for, like,

the other generation, the older generation.

Like, the '60s or the '70s people, like, the hippies and stuff.

So there was a healthy bit of, kind of, scepticism.

The initial idea was to create an event around THE festival band

of the early '90s, The Levellers, and hold it on the Isle of Arran.

It would have been a one-day kind of festival but we got on a ferry

and went over to the Isle of Arran, and we just realised, you know,

looking at the capacity of the ferries, you know, it would

take a week to get enough people over there to make a, you know,

a festival viable.

So we kind of scrapped those plans

and we came across Strathclyde Park and decided, let's go for 1994.

Having previously worked with them on other live music events,

DF Concerts teamed up with Tennents and Irish music promoters

MCD to put on Scotland's first ever T in the Park.

The 1994 line-up included some of the top acts of the time...

# When your seven worlds collide

# Whenever I am by your side... #

# Someday I'll have a disappearing hairline

# Someday I'll wear pyjamas in the daytime

# Love to hear your song

# On the AM

# On the AM... #

..and the first ever headliners were Rage Against the Machine.

RAPS: The present curriculum

I put my fist in 'em Eurocentric every last one of 'em

See right through the red, white and blue disguise

With lecture I puncture the structure of lies

Installed in our minds and attempting to hold us back

We've got to take it back

Holes in our spirit causin' tears and fears

One-sided stories for years and years and years

I'm inferior? Who's inferior?

Yeah, we need to check the interior of the system

who cares about only one culture

And that is why we gotta take the power back

We gotta take the power back

Come on, come on!

We gotta take the power back!

We knew what we were doing in terms of managing concerts,

booking bands, marketing concerts - all that was easy bit.

You know, getting the line-up together is the easiest bit.

It's like, how do we actually run a festival?

We had the doormen from King Tut's, a guy called Steve Broadfoot,

who was our campsite manager in that very first year.

It shows how naive we were

because we didn't have a fence around the campsite or anything,

we just said to people, "If you want to camp, come along.

"It's an extra £2 to cover the security and the toilets,"

and Steve was collecting two pound off each of them

and then literally walking them to where to pitch their tent,

and that's how, you know,

organic it was in the first year, and how naive it was.

But as the campers got ready for the second day of the festival,

an up-and-coming band called Oasis

were having trouble getting to the site.

I think we'd crossed the border into Scotland, and we pulled over,

and our mate who was driving the van...

..filled it up with petrol instead of diesel

so we didn't get much further after that.

-Where's the rest of the band?

-On the motorway somewhere.

They're just, like, I don't know, they just broke down.

We ended up arriving at T in the Park on the train,

carrying our own equipment,

with all the punters, and had to walk through with them.

We had to virtually queue up to get in.

It was probably the only festival that they didn't play as a headliner

because after T in the Park, they got so big so quickly

that the next time they did festivals,

they were headlining them.

Headlining on the Sunday night were Primal Scream,

who had no problems getting to the festival

but found getting to the stage slightly difficult.

I was carried to the stage...

..by Steve Molloy, who was a roadie.

For a while, I thought I was carried to the stage

because I was completely out of it

but I think it's because it was really muddy!

# Thieves keep thievin'

# Whores keep whorin'

# Junkies keep scorin'

# Trade is on the meat rack

# Strip joints full of hunchbacks

# Bitches keep bitchin'

# Clap keeps itchin'

# Ain't no use in prayin'

# That's the way it's stayin', baby... #

We put on a good performance. We really gave everything.

# Johnny ain't so crazy

# He's always got a line for the ladies

# Yeah, yeah, yeah!

# Get your rocks off

# Get your rocks off, honey

# Shake it now, now

# Get 'em off downtown

# Get your rocks off

# Get your rocks off, honey

# Shake it now, now

# Get 'em off downtown

# Creeps keep crawlin'

# Drunks keep fallin'

# Teasers keep teasin'

# Holy Joes are preachin'

# Cops keep bustin'

# Hustlers keep hustlin'

# Death keeps knockin'

# Souls are up for auction

# Ain't no use in prayin'

# That's the way it's stayin', baby

# Johnny ain't so crazy

# He's always got a line for the ladies

# Yeah, yeah, yeah... #

Pretty cosmic, erm, yeah, it was,

it was the biggest gig we'd played up to that date in Scotland.

# Shake it now, now

# Get 'em off downtown. #

Get down!

CHEERING AND APPLAUSE

'It wasn't until the Sunday night

'that we saw how much everybody had really enjoyed the festival'

and reviews on the Monday morning that gave us the, you know,

the confidence to do it all again.

So, Scotland's first ever T in the Park was off the ground

and over the next couple of years the festival became the hottest

ticket in town as the billings were bursting with the latest bands.

# I don't understand how the last card is played

# But somehow a vital a connection is made... #

Oh!

# But we are young

# We get by

# Can't go mad

# Ain't got time

# Sleep around if we like but we're all right... #

# I want my love, my joy My laugh, my smile, my needs

# Not in the star signs Or the palm that she reads

# I want my sundrenched, windswept Ingrid Bergman kiss.

I remember the first year I went to T in the Park, I saw Pulp playing.

That was the year Pulp were headlining and...

I still think that's probably one of the best festival performances

I've ever seen.

# See what I can do

# I took her to a supermarket

# I don't know why but I had to start it somewhere

# So it started there

# I said, "Pretend you've got no money"

# She just laughed and said, "You're so funny!"

# I said, "Yeah?"

# Well, I can't see anyone else smiling in here

# Are you sure?

# You want to live like common people

# You want to see whatever common people see

# Want to sleep with common people

# You want to sleep with common people like me

# But she didn't understand

# She just smiled and held my hand

# Rent a flat above a shop

# Cut your hair and get a job

# Smoke some fags and play some pool

# Pretend you never went to school... #

Jarvis was this, kind of, lean, stark figure

commanding these thousands of people.

Yeah, it was pretty good.

# I want to live with common people like you

# I want to live with common people like you

# I want to live with common people like you

# I want to live with common people like you

# I want to live with common people like you

# I want to live with common people like you

# I want to live with common people like you

# I want to live with common people like you

# You!

# You!

# You!

# Oh, yeah. #

CHEERING AND APPLAUSE

Also wowing the crowd that year was Sunday night headliner Radiohead.

It really was absolutely magical.

# Ah, ah, ah!

# You do it to yourself, you do

# And that's what really hurts

# You do it to yourself, just you

# You and no-one else

# You do it to yourself

# You do it to yourself

# Self

# Self. #

THOM SCREAMS

Thank you, good night!

But when Radiohead said "good night", it was also goodbye

to Strathclyde Park, as the festival had to find a new site.

There was two reasons why we moved from Strathclyde Park to Balado.

One was that the site had been earmarked for redevelopment

and also, we had outgrown it.

I was just seeing an item on the news, I think, last summer,

about Strathclyde Park,

that the event might not be there next year

and, obviously, I've always reckoned there was potential on the site

for concerts of some description.

We drove onto the site, met Douglas and it just felt right.

It felt perfect.

Lots of, you know, open spaces for putting stages on,

big audiences but, also, a lot of undulating land so it didn't,

you know, look flat and boring.

We had a really warm reception from the local people in Kinross,

which is the town right next to it.

We need something to liven the place up a bit!

About 80,000 people are going to be livening the place up.

Dinnae tell me any more!

The community council saw the potential.

I do remember a few community council meetings that were a bit tetchy

where people had misconceptions about what the festival would bring

but they looked at this and they thought,

"No, this is going to be good for the kids in the village and the town,

"it's going to be good for the economy,"

and they welcomed us with open arms.

We have given this application due consideration

and I move approval for the application to be allowed.

It wasn't till we made the choice to move out to Kinross

that we became a Scottish festival

and suddenly people on the east coast and the north of Scotland

were going, "Well, great, this is a, you know, a festival for Scotland."

People in Glasgow were sceptical about us moving north

because they thought Kinross, you know, was miles away.

I thought, "I don't want go to Kinross,

"why would I want to go to Kinross?" And I think I spoke for everybody.

And our sales in Glasgow kind of dipped a little bit

but we were selling tickets throughout the rest of Scotland.

..and as soon as I got there, I just fell in love with the place.

So the festival had a new home in 1997

and that meant bigger crowds came to see the latest bands at Balado.

That year's headliners were The Charlatans...

# Love is hard to leave

# And it's hard to never have

# Can you please crawl out of your window

# You can play with all my love Yeah, yeah, yeah... #

..and Paul Weller.

# I've got a grapefruit matter

# It's as sour as shit

# I got no solution

# I better get used to it

# I don't need a ship to sail in stormy weather

# Don't need you to ruffle the feathers of my peacock suit

# My peacock suit

# I'm narcissus in a puddle

# In shop windows I gloat

# Like a ball of fleece lining

# Dressed in my camel skin coat

# I don't need a ship to sail in stormy weather

# I don't need you to ruffle the feathers of my peacock suit

# Did you think I should?

# Peacock suit... #

With enough open space for a new tent

and wanting to capture the ever-popular club scene culture,

it was time for T to get hardcore.

Because we were experienced at running our own events

and doing nights at the Arches, and the Sub Club,

and the whole club feel is a continuous mix of music,

that Geoff asked us if we could actually organise something like that

for T in the Park and that's how the Slam Tent was born.

It was a big tent to start off with

and I remember looking at it at the beginning,

and going, "Whoa, that's a big space to fill!"

And, literally, when we opened the doors, I remember opening the doors

to the Slam Tent and just everybody rushing in.

It was like somebody had opened a dam and water had just splashed in.

There was all these people just running in,

so it was quite an overwhelming feeling.

Just sit there and go, "This is something we just created,

"this is something that we're behind."

Yeah, we went down to the Slam Tent.

The atmosphere was amazing and there was just people everywhere,

and just everybody dancing.

And, literally, like, the place was, like, dripping with sweat,

which was great.

As well as performances from Slam, the tent has hosted world-class DJs

like Fatboy Slim, Laurent Garnier...

and Carl Cox.

We try and be a little bit eclectic as well.

We've had, you know, people like Groove Armada,

Orbital and Leftfield.

I don't think it matters whether you're a rock band or a dance band,

I think the same rules apply.

You've got to give people a good riff, give people a hook,

something that they can go, "Ah, there it is!" You know?

You feel like the people in the Slam Tent are there for the long haul.

They're not looking in checking who's playing in other places,

it's like, that's the Slam Tent crowd

and they've probably been in there since Friday night, and they just go

away, grab a few hours' kip, then come back, and go to the Slam Tent.

It really does feel like its own little festival within the festival.

But dance music didn't stay in the Slam Tent.

Over the years, it's made its presence felt

across the whole festival.

# I'm the fear addicted Danger illustrated

# I'm a firestarter Twisted firestarter

# You're the firestarter Twisted firestarter

# I'm a firestarter, Twisted firestarter

# I'm the bitch you hated Filth infatuated

Yeah!

# I'm the pain you tasted Fell intoxicated

Intoxicated!

# I'm a firestarter Twisted firestarter

# You're the firestarter Twisted firestarter

# Whoa-oa-oa, yeah!

# Whoa, yeah... #

It's never been just solely the preserve of rock 'n' roll.

That's partly because to get, out of a population of five million,

to get, you know, a festival the size of T in the Park,

even in the early years, we couldn't be one-dimensional, musically,

we had to, we had to appeal to a wider cross-section.

And in 1998 one man who had a huge following

was former boy band member Robbie Williams.

He turned up with this, kind of, really severe Mohican haircut,

you know, which I don't think, if truth to be told,

did him any favours.

# Hell is gone and heaven's here

# There's nothing left for you to fear

# Shake your ass, come over here Now scream

# I'm a burning effigy of everything I used to be

# You're my rock of empathy... #

You know the words! Come on!

# So come on, let me entertain you

# Let me entertain you... #

He went on and just won over the crowd.

It was just absolutely fantastic.

After being entertained by pop music from Robbie on the Saturday,

Sunday's audiences got something very different,

American hip-hop heroes Beastie Boys.

Whoa!

So!

Listen all of y'all it's a sabotage

Listen all of y'all it's a sabotage

Listen all of y'all it's a sabotage Listen all of y'all it's a sabotage

RAPS: I can't stand it I know you planned it

I'm gonna set it straight, this Watergate

I can't stand rocking when I'm in this place

I feel disgrace You're all in my face

So make no mistakes and switch up my channel

I'm buddy rich when I fly off the handle

What could it be, it's a mirage

You're scheming on a thing That's sabotage

CHEERING AND APPLAUSE

As the festival got bigger, some bands grew with it.

Headliners of the future were progressing up each stage.

The Stereophonics first played T in 1997...

# There's no mistake The smell I smell

# It's that time of year again

# I can taste the air... #

..and they became main stage headliners

just a couple of years later.

It's quite an accomplishment, I think,

for three scallywags from a tiny village in Wales that has got

one road in and one road out, and a bus terminus at the top.

# ..train runs late for the first time

# A pebble beach We're underneath a pier

# Just been painted red

# Where I hear the news for the first time

# And all the friends lay down the flowers

# Sit on the banks and drink for hours

# Talk of the way they saw him last

# Local boy in the photograph... #

It was the year of the vest.

Everybody was wearing vests in them days.

I remember smashing up this guitar at the end and it took,

it took for ever to smash this guitar.

CHEERING AND APPLAUSE

I couldn't quite understand why an Epifoam Gibson would take

more effort to break than a real Gibson.

And I smashed it against the monitor about five times,

and resorted to just throwing it in the air.

I don't think I'd ever done that before. Smashed up a guitar.

I haven't since either, after that effort! But it was good fun!

It's great that these bands, you know, develop through the festival.

It's very, very rewarding, you know, to see a festival headliner who,

you know, maybe three years earlier were opening up a main stage.

Another band who worked their way up the T billings were

on the verge of global stardom when they played the main stage in 2001.

# Look at the stars

# Look how they shine for you... #

And I remember seeing Coldplay,

and it was just as their second album was going to come out.

And I thought, "Fucking hell, that's going to be immense."

It was just kind of them,

just playing the music and it was fucking great.

# It's you... #

CHEERING AND APPLAUSE

And, erm, that might be the best I've ever seen Coldplay,

before they...

got involved in the lasers and the wizardry and all that.

# One, two...

# I turn the music up

# I got my records on

# From underneath the rubble sing a rebel song

# Don't want to see another generation drop

# I'd rather be a comma than a full stop

# Maybe I'm in the black

# Maybe I'm on my knees

# Maybe I'm in the gap between the two trapezes

# But my heart is beating and my pulses start

# Cathedrals in my heart

# As we saw

# Oh, this light

# I swear you

# Emerge blinking into

# To tell me it's all right

# As we soar walls

# Every siren is a symphony

# Every tear's a waterfall

# Is a waterfall

# Is a waterfall

# Oh-oh-oh

# Is a waterfall

# Every teardrop is a waterfall

# Oh-oh-oh

# So you can hurt... #

It was just incredible. You know, you didn't want it to end.

# Why does it always rain on me?

# Cos I lied when I was 17

# Why does it always rain on T?

# Even when the sun is shining I can't avoid the lightning... #

Chris Martin's nod to Scotland's own Travis spotlights a band

who'd made their festival debut in the comedy tent at the very first T

and worked their way up to the top slot on the main stage

in the year 2000.

# Why does it always rain on me?

# Is it because I lied when I was 17?... #

We found ourselves headlining this event.

# Even when the sun is shining

# I can't avoid the lightning

# Oh, where did the blue sky go?

# Why is it raining so cold... #

You feel your adrenaline going, "Woo!"

It was good, everyone was kind of interacting with the band.

Singing just about every song and every lyric.

-CROWD:

-# I can't sleep tonight

# Everybody saying everything's all right... #

The way they light the crowd, when they put those...

There's lights that go across the top of...all festival stages.

Everyone's just lit up so you see all these,

sort of, this big sea of skin.

Like, sort of, wee white faces all going, "Rargh!", but it's abstract.

It just looks like this big giant thing.

It's not an individual thing, it's just one huge, big roaring beast.

It feels more like you're just this big soup of crazy energy.

It's brilliant.

# Is it because I lied when I was 17?

# Why does it always rain on me?

# Even when the sun is shining I can't avoid the lightning

# Oh, where did the blue sky go?

# Why is it raining so cold... #

I mean, you feel the energy coming off the audience.

That moment when you walk on stage

and you can feel it starting to surge towards you.

People just hear that slide guitar, the... # Doo-doo doo. #

CHEERING AND APPLAUSE

You just, kind of, see the whole place, kind of, go...

Especially when the bass comes in.

It's the, "Dum, dum, dum, dum, dum, dum, dum, dum."

Woo!

'You can just see T in the Park suddenly to start to go, like that.'

And then it starts...

# I don't want a lover

# But I just need a friend

# I don't want a lover

# I just need a friend

Come on!

# You can't just leave me

# To face life on my own

# I know you don't love me no more

# I knew this day it would come

# Even when it cuts so deep

# It's true I still want you... #

It's like this amazing, kind of, like, relationship between,

between you and a bunch of strangers

but you feel like you know every single person

and they feel that they know you cos they're singing all your songs.

It's positive, you know? It's a positive vibe in that crowd.

You know, the crowd are with you. Just incredible, you know?

It's like a hometown show.

# Shoot the runner

# Shoot, shoot the runner

# I'm the king and everybody sing it!

# Dream

# Dream again in your way

# Always knew that you would

# Lose yourself to the scene

# Am I only a dream?

# Shoot the runner Shoot, shoot the runner

# I'm a king and you're my queen, bitch... #

They sing the guitar lines, they sing the...

the piano hooks, they sing, they sing every hook, you know?

As well as every word.

# Let's waste time

-CROWD:

-# Chasing cars

# Round our heads... #

CHEERING AND APPLAUSE

# I need your grace

# To remind me

# To find my own

# If I lay here

# If I just lay here

# Would you lie with me and just forget the world?

# Forget what we're told

# Before we get too old

# Just show me a garden that's bursting into life... #

There's one sing-along moment that's always stuck with Snow Patrol

and it wasn't on the main stage

but in their first headlining slot, in the King Tut's Tent, in 2004.

# It's... #

'It's lucky they were singing along because I lost the plot

in the first two songs

and don't think I sang a single word, and the crowd just carried it.

I'm so nervous, I forgot the whole second verse!

And it was just a swelling ocean of people.

Like, I've never seen a crowd move like it before.

It was like, they looked like they were just,

they were all bobbing on the ocean

and, er, I, just, was completely and utterly gobsmacked.

Never seen a crowd like it in my life.

Never had an experience like it in my life.

# So what? So what?

# We don't have time for that

# All I want's to find an easy way

# To get on up a little higher

# Light up

-CROWD:

-# Light up

# As if you have a choice

# Even if you cannot hear my voice

# I'll be right beside you, dear... #

CHEERING AND APPLAUSE

That first sweet, great show at T

was probably one of the best of my memory, for sure.

-Thank you!

-CHEERING AND APPLAUSE

King Tut's also holds great memories for The View

when they headlined the tent in 2007.

'The noise. I've never...'

That's, like, one of the only times I've ever been nervous

about going on stage.

Everybody was pacing about and not even speaking to anybody

but it was an amazing feeling. I was, like, buzzing.

The tent, I thought the tent was going to blow up!

It was that, like, the noise was amazing.

# To sail away to see some sights

# Sail away with me

# To see some sights

# Oh, oh, oh, oh

# Oh, oh, oh

# Superstar tradesman

# Stand at the bar

# Get a trade, son

# You will go far

# You have a house in the ferry

# And a new guitar that's never been played before

# And it never will

# Never been played before

# And it never will. #

Not bad for a couple of guys who, five years earlier,

had been in the crowd watching Oasis on the main stage.

It was our first T in the Park, we came in, right, I remember,

it was weird, and that, in monumental day.

I taped it and when I got back I was just fast forwarding through it

and I found myself on it. It was great.

# Is it worth the aggravation To find yourself a job

# When there's nothing worth working for?

# It's a crazy situation

# But all I need are cigarettes and alcohol!

# You could wait for a lifetime

# To spend your days in the sunshine

# You might as well do the white line

# Cos when it comes on top

# You gotta make it happen!

# You gotta make it happen!

# You gotta make it happen!

# You gotta make it happen!

# You gotta, you gotta

# You gotta make it

# You gotta, you gotta

# You gotta fake it

# You gotta, you gotta

# You gotta make it

# You gotta, you gotta

# You gotta rake it! #

Oasis headlining was always guaranteed to be a winner,

but for one Scottish band setting foot on the main stage

for the first time

the crowd's reaction was a revelation.

We didn't realise that people were that into the band

at that point as well.

Just, like, thousands and thousands of people

going absolutely mental and singing along.

CROWD SING ALONG TO RIFF

# I say don't you know?

# You say you don't know

# I say

# Well, take me out

# I say you don't show

# Don't move, time's slow

# I say

# Take me out

# I say don't you know

# You say you don't know

# I say

# Take me out

# If I wane, this could die

# If I wait, this could die

# I want you to take me out

# If I move, this could die

# Eyes move, this could die

Come on!

-CROWD:

-Take me out!

It was the best welcome a band could ever have.

It was probably one of the happiest moments of my life

and you can see it on my face as well.

# ..I know I won't be leaving here with you. #

CHEERING AND APPLAUSE

A moment the Kaiser Chiefs never predicted

was when they headlined the Radio One NME Stage, in 2008.

It was a brilliant gig and Ricky ripped his trousers.

Yeah, my trousers split down both inner seams.

That's how good the gig was.

# Ruby, Ruby, Ruby, Ruby

# Ah, ah, ah, ah, ah

# Do you? Do you? Do you?

# Know what you're doing, doing to me?

# Ruby, Ruby, Ruby, Ruby... #

We played really early on and I think it really helped our career,

in terms of, like, playing in Scotland.

I think it was our first big gig in Scotland and then we went on,

and we've always had great gigs in Scotland,

so it definitely helped us.

As well as helping to establish bands, the festival itself

was building a reputation far beyond the fields of Balado,

as T in the Park attracted some of the biggest names

from across the Atlantic.

# Tonight's the night

# Let's live it up

# I got my money

# Let's spend it up

# Go out and smash it

# Like, "Oh, My God!"

# Jump off that sofa

# Let's get, get OFF! #

The Foos have, you know, played T in the Park,

you know, several times.

CHEERING AND APPLAUSE

# What have we done with innocence?

# It disappeared with time it never made much sense

# Adolescent resident

# Wasting another night on planning my revenge

Here we go!

# One in ten

# One in ten

# One in ten

# Don't wanna be your monkey wrench

# One more indecent accident

# I'd rather leave than suffer this

# I'll never be your monkey wrench... #

I think Dave Grohl himself is the musicians' musician.

He's the one that, you know, you say to most acts on the bill,

"Who do you want to shake hands with?",

or, "Who do you want to watch?" You know, it's him.

He's a great performer and a great person, you know.

Just hangs out, chills out, talks to all of the bands.

# Suckers to the side I know you hate my 98

# We're going to get you... #

Once, the Red Hot Chili Peppers were staying

and they'd made a separate compound out of Portakabins,

like these, so no-one could see in.

But one of our Portakabins, one of the windows,

they'd try to cover it up with some paper

but it just came off, so we're looking in on their section.

Flea's running around in an all-in-one body suit

and then we put up a sign, Simon's idea, saying,

"Give us a wave, give us a wave, give us a wave now."

And then we saw, I think it was Anthony, or Flea, one of them,

looking at it, trying to read it...

# Youngblood is the loving upriser... #

..and then he went like...

# Give it away, give it away Give it away now

# Give it away, give it away Give it away now

# Give it away, give it away Give it away now

# I can't tell if I'm a kingpin or a pauper... #

We've always been about contemporary acts in the first and foremost

but as the festival's matured, we've been able to do some acts

that probably weren't the obvious booking for a festival, you know,

for T in the Park.

So, REM were probably the first headliner that we booked

that predated the festival.

# So Andy did you hear about this one?

# Tell me, are you locked in the punch?

# Andy are you goofing on Elvis?

# Hey, baby, are you having fun?

# If you believe they put a man on the moon

# Man on the moon

# If you believe there's nothing up his sleeve

# Nothing is cool... #

Come on!

Most bands that headline T in the Park have kind of

grown through T in the Park - like Oasis, like Pulp,

like Kings of Leon, Killers, Kasabian

but with The Who, you know, I'm just a really massive fan of The Who

but it wasn't a self-indulgent booking.

I thought, "The Who will work,

"so long as we've got very contemporary acts underneath them."

So we had the Arctic Monkeys and The Strokes,

who, arguably, both were bigger than The Who

and certainly more popular amongst our demographic

but The Strokes and the Arctic Monkeys

would have no problem playing prior to The Who.

And that, to me, that was a perfect kind of booking.

# Who are you?

# Who, who, who, who

# Who are you?

# Who, who, who, who she met

# Who are you?

# Who, who, who, who?

# Who are you?

# Who, who, who, who?

# I woke up in a Soho doorway

# The policeman knew my name

# He said, "You can go sleep at home tonight

# "If you can get up and walk away"

# I staggered back to the underground

# The breeze blew back my hair

# I remembered throwing punches around

# I was preachin' from my chair Who are you?

# Who are you?

# Who, who, who, who

# I really want to know

# Who are you

# Who, who, who, who

# Come on and tell me, who are you?

# Who are you?

# Who, who, who, who?

# Because I really want to know

# Who are you... #

Pete and Roger Daltrey actually gave each other a big hug as they

walked offstage, and Pete was, you know, had a grin from ear to ear.

CHEERING AND APPLAUSE

Very, very grateful.

It's important for us to have some really good,

kind of, heritage type acts on the bill because we can do it now.

In the early years it was a bit more difficult

but we've had James Brown, he was absolutely brilliant when he played.

# I feel good

# I feel good

# I knew that I would

Come here!

# I feel good

# I feel good

# I knew that I would

-# So good

-So good

-# So good

-So good

# I got you

# I feel nice

# I feel nice

# Like sugar and spice

# I feel nice

# I feel nice

# Like sugar and spice

-# So good

-So good

-# So nice

-So nice

# I got you... #

I thought most of the T in the Park audience would probably

never have the opportunity to go and see Brian Wilson

but if he's playing at the festival that you're going to,

then you take time out to go and see him because you know he's a legend.

# I'm thinking about good vibrations

# She's giving me the excitations

# I'm thinking about good vibrations

# She's giving the excitation

# Good, good, good, good vibrations

# She's giving me good vibrations

# Good, good, good, good vibrations

# Close my eyes

# She's somehow closer now

# Softly smile I know she must be kind

# When I look in her eyes

# She goes with me to a blossom world

# And I'm picking up

# I'm picking up good vibrations

# She's giving me excitations

# I'm picking up good vibrations

# She's giving me excitations

# Good, good, good, good vibrations

# she's giving me excitations

# Good, good, good, good vibrations

# She's giving me excitations... #

There was 80,000 people in the tent, you know, from, you know,

kids of 15, 16, right up to,

you know, people in their forties and fifties.

He was absolutely wonderful.

The crowd were wonderful, clapping the whole way through

and I just felt like I was witnessing something quite special.

But it's not all about established bands.

The festival has always had opportunities for new talent,

with the likes of the BBC Introducing Stage

and the T Break Stage,

where many young Scottish artists made their first appearance.

I played in the T Break tent

and it was probably the first festival that I done,

and then my album was just about to come out, and the tent was

absolutely rammed, and it just felt like one of them

really special moments,

and it felt really emotional for me

because this is the festival that I'd came to with my friends,

this is the one that I dreamed of playing,

and suddenly I was on the stage performing,

and there was loads of people, and I was about to release my album.

After her T Break appearance in 2007,

Amy went on to play the main stage the following year.

# Where you gonna sleep tonight?

# And you're singing the songs Thinking this is the life

# And you wake up in the morning and your head feels twice the size

# Where you gonna go Where you gonna go?

# Where you gonna sleep tonight?

# Where you gonna sleep tonight... #

The T break competition is held before the main event.

Wannabe bands send in their demos for their chance to play the stage.

There was one time I worked on our demo and rather than, like,

putting it in the post for the T Break competition, I was like,

I'm going to hand-deliver this so they take it seriously.

Wrote "hand-delivered" on it and everything.

But I handed in to the actual Tennent's factory.

I don't know what that road is? Duke Street, or something like that?

Er, it's just in Dennistoun, Duke Street...

So, I walked all the way along, handed it in, like, "Yes!"

Never heard back but the next year we got invited

and then we played the Futures Tent, then NME Stage

and today we played the main stage.

# So I can be free

# So I can be free, yeah... #

And for one band, playing the T Break stage in 2000

was a life-changing moment.

It was a nightmare show -

Ben's bass drum broke, I busted all my fingers up,

they were bleeding so bad from playing guitar, and we were just so

excited, and we had a good time but we didn't think the show went great.

Then afterwards, like, two days later, or something,

it was like, "We'd like to sign you," and we were like, "What?!"

# Your beautiful face

# I held her tight... #

And then we just, yeah, slowly kept creeping up in the stages.

In 2003 I think we were scheduled to play the NME Stage, or something,

kind of, mid-afternoon and it was the year that Jack White, I think,

broke his finger or something

so the White Stripes pulled out at the last minute

and we got flung on to the main stage bill,

which we didn't really belong to at that point.

When we stepped on that stage, it was just totally overwhelming.

So much so that we kind of forgot how we set up on stage.

We felt, like, half a mile away from each other on this big stage

and we didn't really know how to kind of do our thing on it

so, just the excitement and the, you know, overwhelmed us

but it was one of the greatest days of our lives.

# She'll do, she'll do... #

'The show felt amazing.

'You know, we've since looked at it back and it's just three angry guys

'falling around the stage.

'I remember at the end, I threw Ben's drum kit or whatever

'and knocked over all his drums.

'None of the mics were working, the guitars were just lying around.

'It was a punk rock moment, that's for sure.'

You know, you learn every time you kind of play a main stage,

you kind of learn, you know, wee tricks and things that,

that'll work better next time.

# Cos you tear us apart

# With all the things you don't like

# You can't understand that I won't leave

# Till we're finished here

# And then you'll find out

# Where it all went wrong

# Nothing lasts for ever

# Except you and me

# You are my mountain You are my sea

# Nothing lasts forever

# Between you and me

# You are my mountain

# You are my sea

# I am the mountain

# I am the sea

# You can't take that away from me

# I am the mountain

# I am the sea

# I am the mountain... #

'It feels like it's very much in our DNA as a band.

'We learned so many things from playing it, you know.'

And I think it's where we've learned most of our kind of

rock 'n' roll lessons and most of our musical lessons over the years.

And Biffy aren't the only ones

who've picked up a few T in the Park tricks of the trade.

Being really well rehearsed is always good

because you never know what's going to happen.

You've got, got to deliver

and shout, "T in the Park," like, more than once.

You should be all right.

Don't be scared of the audience.

People are at a festival to enjoy themselves.

Uh-huh, just don't get in their way.

All people really want is to have a good time and they want to sing,

and dance, and they want to have a beer, and it's not really the place

for trying out your avant-garde B-side setlists, you know?

The worst thing to come off a stage from a headliner is

"We'd like to play you a new one." Don't.

It's fucking raining, play the hits. Play the songs we know.

I think most of the set from 2002 T in the Park was from Evil Heat,

which was on a record that no-one had heard yet

because it hadn't been released.

Gerry and Rab, our managers,

were really crestfallen when we walked off the stage

because they felt that we'd blown a great opportunity but, you know,

I can understand bands that just pack their set with their hits

because people want to hear that at festivals

but also, I think people want to see some danger and confrontation,

and sex, and violence, and rock 'n' roll, you know?

In its 20th year, T in the Park boasts plenty

of rock 'n' roll moments for artists and fans alike,

and it continues to attract the biggest names in music

to the fields of Balado.

But its first two decades have proved

that it's more than just a festival. It's nurtured bands...

It really helped take us from in the bedroom

to the top of the bill.

..inspired a new generation of Scottish musicians...

I think we kind of almost officially caught the live show bug

from playing T in the Park.

# I got my head checked... #

..and become part of the Scottish cultural landscape.

The passion, the exuberance, the warmth, the friendliness,

you know, I don't think you can quite put a name on it. It's...

you know, it's T in the Park!

-CROWD:

-Woo-hoo!

# And I'm pins and I'm needles!

-CROWD:

-Woo-hoo!

# And I'm pins and I'm needles!

-CROWD:

-Woo-hoo!

# Well, I lie and I'm easy

# All of the time and I'm never sure why I need you

# Pleased to meet you!

# Yeah, yeah!

# Yeah, yeah!

# Yeah, yeah!

# Oh, yeah!

CHEERING AND APPLAUSE

That's the best ever, that one. That is the best ever.

Subtitles by Red Bee Media Ltd