The show that almost destroyed Radiohead: “You’ll probably live the rest of your life regretting it”
There’s a small part of me that feels if Radiohead were to have emerged now, releasing a string of albums like Pablo Honey, The Bends, and OK Computer, that they wouldn’t be in contention for a headline Glastonbury slot.
Back in 1997, the announcement of who would take the big slots felt less scrutinised by the general public, for there seemed to be a better understanding that music within the festival existed outside the realms of the Pyramid stage. Now, the announcement of the big three feels pressured by the gallery as opposed to wholly following artistic merit.
Therefore, I fear that in a parallel universe, where Radiohead’s musical genius would have to fight through a tidal wave of TikToks, they would likely be consigned to nothing more than the Park Stage. But in 1997, well, the landscape of alternative music was perhaps as fruitful as it ever has been, with the commercial landscapes of radio and music TV less populated with commercial action figures and more obscure representations of Britain’s alternative scenes.
Despite the brutal success of Britpop, Radiohead emerged through the tracks, with their elusive brand of alternative music casting a net over fans of all genres. All out rock heads were united with the thrill-seeking fans of underground electronic music.
In doing so, they inadvertently became the perfect festival band, existing between the lines of strobe lighting and building a perfect bridge between Glastonbury’s two subcultures. Allowing the authentic expression of the day stages’ traditional rock music to bleed into the late-night liberation of dance. And with Pablo Honey, The Bends, and OK Computer already at their disposal, in 1997, the band could create the perfect headline setlist.
“By the time we’d finished the record [OK Computer], we had a meeting about what we were going to do for the shows, and I was like ‘I can’t do Glastonbury, I can’t do it… No, I can’t do it!’” Thom Yorke explained. That project and the two before it were labours of love, not just thrust out the sleeve of the band. And so, following that up with the country’s most sacred show felt like a bridge too far.
“I’d burnt myself out making the record, and the idea of having to put myself back…you know it was a weird time for me. I’d just got really obsessed… and I just needed a break,” he declared.
Obviously, the seismic impact of this show meant Yorke found a way to dig himself out of exhaustion and make his debut on the Pyramid. But once he was there, it wasn’t plain sailing. Oh no, the feelings of doubt and tiredness crept in midway through the show and almost brought the whole thing to a halt.
According to Thom, “At one point in the show, I just went over to Ed, I tapped him on the shoulder and I said ‘I’m off mate, I’ll see you later!’ and he turned around and said, ‘If you do, you’ll probably live the rest of your life regretting it’… I’m like ‘good point!’”
We can all thank Ed O’Brien for being the voice of reason because not only did the band put on a stellar debut show in ‘97, but they have returned another two times since, cementing their place in music history and continuing to champion authenticity in the face of festival commercialism.
