It's getting dark, and the field in front of the NME stage is heaving from front to back as searchlights sweep the crowd and discordant samples echo through the air.
Maxim strides to the edge of the stage, and stares into the night with crazy white eyes.
He raises his microphone. As the shattered glass breakbeats of Break And Enter ring out at huge volume and thousands of dancing people turn the entire field into one enormous moshpit, the crowd are greeted by the deranged spectacle of a flame haired Keith Flint rolling onto the stage in a massive glass ball. Glastonbury must have seemed a universe away back in 1990, when Liam Howlett arrived at the offices of XL Recordings with a demo cassette of ten tunes that he'd recorded in his bedroom. To Kill in order to concentrate on his own hard dance music. It was a promising enough beginning, but the next single was a whole different story.