Nobody gets dumped
Scott confirmed that he had met Chris at Beaconsfield services and still considered it one of Britain’s best motorway stops. Despite the previous day’s stories about neutral-ground break-ups, Chris remained on the programme.
Listeners continued reporting service-station endings, including a person told she was loved “more like a sister” without even receiving nuggets to soften the news. Scott understood the practical appeal: the rejected person could drive away and immediately buy comfort food.
Joe returns to Bingo
Joe Lenzie from Sigma requested a rematch at Innuendo Bingo. Cameron Edwards was working in Las Vegas, demonstrating the useful ability of a duo to appear in two countries at once.
Joe had played before but not against Chris. He approached the return with the confidence of somebody who knew exactly how wet the studio would become and completed another strong game without showing much fear.
Waiting for farming
Scott had noticed that Avicii’s “Waiting for Love” sounded unusually suitable for young farmers. Its structure moved through the days of the week, allowing Chris to replace the original words with a seven-day agricultural routine.
Chris searched online for vocabulary and produced a rough vocal. Young farmers listening from tractors enjoyed the idea but questioned whether all of his lines were authentic. Scott decided the answer was not to abandon the song, but to replace its singer.
Emily and Ben called from their farms and checked the terminology. They then recorded Chris’s lyrics, giving the remix voices that belonged to the audience it was meant to represent.
A proper production begins
The responses convinced Scott that the track deserved more work. He planned to take the farmers’ recordings and turn the rough parody into a proper production for Friday.
The song also had an obvious live market. Scott was booked for a farmers’ event in Wales, while Greg James was heading to Harper Adams. A joke made from the programme’s unexpectedly large agricultural audience was turning into material the DJs could genuinely play to them.
Scott scored a perfect 40 in Real or No Real, beating Greg’s 30. Even that rare result was overshadowed by the discovery that Radio 1 might have accidentally commissioned the young-farmers anthem of the summer.
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