The 1998 Festival had Phil Collins’s stamp all over it. The Genesis drummer played a two and a half hour set with a big band two nights in a row, pulling in an audience of nearly 4700, but was also the face and designer of that year’s Festival, which is remembered for having opened its doors to electronic music. Claude Nobs had previously fallen for a sketch by the musician sold at a charity gala two years earlier. Collins explained that the design was a reworking of the drawing he used to produce when he was asked for an autograph: a small round-faced figure playing the drums. He claimed it was not a self-portrait, despite the euphoric drummer bring similarly follicly challenged.