T in the Park, 13th-14th July 2002, Balado by Kinross

Day 2 is something of a collection of questions to be answered. Like, will all the people who only give a fuck about Oasis stick around for some quality punk rock, or spoil the fun for everyone else? Will Green Day set fire to their drum kit? Are the headlining Tbreak band listed as TBC really The Boy Cartographer? Most importantly, will today bring better music than the Saturday? X-tigers are first, for us, in the Tbreak tent. I'm only really familiar with their version of 'Little Donkey', the only other thing known about them is they're all really tall. The sound in the tent has vastly improved- clear as a bell, and the Tigers have a sharp clean sound, some neat tunes ("Cassette" (?) being of particular note) and great harmonies. By the end of the set one of our questions has been answered - already we've seen something to rank with Saturday's highlight of Idlewild. The only problem with that is that the rest of the day is in danger of being an anti-climax. And our worries continue at the NME stage where Biffy Clyro start off sounding a bit ropey. Can it be coincidence, then that when we move forward towards the stage, the band miraculously sound tight, in-tune and like the potential world-beaters that they are? Our move coincides with a rasping version of '27' but the rest of the set rumbles along and kicks the proverbial crap out of any of the nu-metal acts that have graced the stage so far. Gigs are always rather down to what you're expecting, though, and pulling up a grassy knoll, we get out the checkered tablecloth and hope that our sandwiches are unspoiled by the Mull Historical Society. And, you know, having expected the worst, they're not at all bad. The vocals, which gnawed at the ears of your reviewer at Glasgow Green, sound impassioned and more importantly, tuneful, with 'Xanadu', with its 70's feel as well as title, providing a high-point for the set. And in a pattern which emerges through the day, 'Barcode Bypass' is actually quite punk rock in delivery. It's also noticeable that their sound on the main stage is the cleanest yet. Though I suspect the wind had dropped. rather than any mixing desk wizardry. (However, my lunching companion , having expected bright catchy pop music, was somewhat disappointed by the dullness of the set. Can't please 'em all, eh?).

The last thing Biffy Clyro said before departing the stage was that we should go see 100 Reasons later on, on the NME's so-punk-it-hurts stage. In a brave move,, the employ both Johnny Vegas and Crusty the Clown's assistant as vocalists. They're ok, the odd tune among what, as Killing Joke never described it, definitely music to mosh to, much to the displeasure of the security guards.

In the day's plan - scribbled running orders with band quality indicated by size of adjacent blob of ink - Cornelius is the big hope. Possibly rubbish but probably great is the projection. In the event, all expectations - the positive ones - are surpassed, from the start - a giant silouhetted start from behind a giant screen to the 4-part harmonies to the projections of phonetic singalong lyrics to some of the fantastic videos which temporarily divert attention from the band - dressed Hives-style in white ties. Selected songs are - surprise - more punk than electro, 'Clash' perhaps setting the blueprint for much of the set. The entire audience are making mental notes to buy up the back catalogue, first thing, Monday, but could they surpass this live set?

As time goes on, the quality of acts improves but Cornelius has rather moved the bar for achievement. Fortunately Odeon Beat Club are next on and just about, in their own way, deliver a set as good as that of the Japanese maestro. No video, screens or other tricks here, though - no, just fast guitar-driven and insanely catchy tunes. And some patter - Paul bemoands the hospitality' area's lack of genuine stars, havigng only spotted, yes, a member of Starsailor. "And Bily Sloan!!" his co0vocalist reminds him. Onto the seruious business, and singles 'Take It Off' and 'Behind My Eye' stand out as ever but, as the saying goes, every one's a winner. Their closing song is basically 6 words and 4 chords repeated for around 5 minutes. And if that sounds like a dirge on paper, you won't recognise it when you hear it live. And hear Odeon Beat Club live you should. So should Billy Sloan, come to that. So, another peak in an unexpectedly good day for music, and more to come. However, the only problem with the Beta Band, Sonic Youth and Green Day coming up is how to arrange your time. Well, the Beta Band kick things off, and, resplendent in white space suits (possibly) they rather join in with the spirit of the day by doing 'Broke' in a distorted spiky guitar-driven style. Maybe it's the iffy NME-Stage sound again, but they're not grabbing me so I venture to catch Sonic Youth. (I'm later told that the Beta Band improved immeasurably after I left with 4 drummers, great material, and an apparently fabulous stage show involving time travel and the crucifixion of Margaret Thatcher).

In comparison, the Youth were ok - just that though. I've not really caught up with their entire back catalogue, and maybe that's the problem here - the band sound great - no 30-minutes of feedback here, they're up for doing their dirty fuzzy pop which goes down the proverbial storm with an adulating audience. But there's no 'Tunic', 'YAF' or '100%'. Ah well, can't please everyone I guess. But Green Day aim to do exactly that. Billy Joe 'borrows' a Lion Rampant and Saltire and stalks the stage and, taking no chances, thanks 'SCOT-LAAAAND' for having him. They also, as you'd expect, run through 'Basket Case', 'King for a Day', and loads of other songs you never knew you knew but whichrise from the subconscious for a bit of a singalong. At Glasgow Green the band got up a young guitarist to play along; here they go 2 better and pick up a drummer and singer too. Quite possibly the band are hoping to check out something else and hope the crowd won't notice. We, however, have other places to be, and leave. Never did find out if the drumkit survived the night, though the giant bunsen burners onstage suggested its days were numbered.

Dave Grohl is a bit of a rock star, but affable with it. He swears - never more when he tries to describe his relationship with Courtney Love, which descends into a Father Jack-style comical string of expletives. You can't help share his sentiments. He also curries favour with the audience, kind of, by saying how he'd eaten haggis and hated it. But he'd do it again. He'd only done it as a favour - he's always doing favours. Apart from the asides, it's, as you'd expect, straight-down-the-middle RAWK. 'This Is A Call', through 'Learn to Fly' all the way to 'Monkey Wrench', the hits are here, performed, stadium-style, with plenty of walkabouts near the crowd. Relentless apart from the odd false ending, there's no room for 'Walking After You' - to be fair, it'd probably be lost in the wind - and 'For All The Cows' quiet start bursts into an explosion of noise. Rather like the fireworks which burst into the still-light sky at the end. And that was that for the main stage, though we are able to close our weekend as we opened it, at the Tbreak stage. Vera Cruise are doing the honours (well, apart from TBC), and despite dedicating a song to Partick Thistle, we give them a listen - and their brand of country - i.e. country with a punk edge and therefore not really country at all - round things off rather nicely - think the Radar Brothers with a bellyfull of whiskey and an axe to grind. All in all, rather a decent weekend, and I'm not just talking about the weather.

...back to day 1