Back then, it was more or less a Lord of the Flies thing. But with the more recent situation, it’s been about the breakdown of the norms of political discourse. “And definitely it’s a predominantly – almost exclusively – white, male crowd that’s reacting in this way. “You can definitely see, certainly visually, parallels between the two,” says Wardle. Forget Fyre festival the closest equivalent I can think of is Four Hours at the Capitol, the recent anxiety-inducing documentary about the 6 January insurrection. When things get really dark – an attendee steals a van and drives it through the middle of the rave tent during Fatboy Slim’s DJ set, or the crowd start tearing down the sound tower – it is genuinely terrifying. A kind of collective frenzy takes hold from the middle of the second day, and the show demonstrates how dangerous a large group of people can be when they start acting as one. This one was a celebration of mindlessly aggressive nu-metal. The original Woodstock’s lineup included Ravi Shankar and Joan Baez. This one sold plastic water bottles at $4 a pop. The original Woodstock had free food kitchens. The original Woodstock? Held on a dairy farm. Held to commemorate the 30th anniversary of the original Woodstock, which has come to be seen as a benign force of positivity, Woodstock 99 became renowned for the consequences of its spectacularly bad decision-making. Trainwreck: Woodstock ’99, as it is aptly titled, is a three-part, chronologically told series about one of the most appallingly assembled music festivals in history. But something tells me that Fyre festival is going to be superseded, because Netflix is about to release a series about Woodstock 99. A film about a woefully organised festival that spiralled out of control with alarming ferocity, it was the sort of thing you had to watch through the cracks in your fingers. Netflix’s Fyre festival documentary was one of those out-of-the-blue hits that seemed to dominate conversation for months when it was released in 2019.
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