If you’ve ever binged the agonizing, cringe-inducing masterpiece that is Peep Show, you know the feeling of that opening riff. It’s loud. It’s frantic. It’s a bit aggressive. Honestly, it feels like a shot of adrenaline to the heart of a show that is mostly about two men sitting on a sofa feeling sad about their life choices. But here’s the thing: that iconic track wasn't actually the original theme song from Peep Show.
Wait. What?
Yeah. If you go back to Series 1, things sounded completely different. It was weirdly jaunty. It was orchestral. It didn't quite fit the vibe of Mark Corrigan’s internal monologue about stationary or Jez’s delusions of musical grandeur. Changing that song was probably the smartest creative decision Jesse Armstrong and Sam Bain ever made.
The Series 1 Mystery: What Happened to "Pipettes"?
Most fans who started watching on Netflix or Hulu—or whatever streaming service is currently hosting the El Dude Brothers—don't even realize there was an original theme. The first season used an instrumental track titled "Pipettes" by Daniel Pemberton. Pemberton is a heavyweight now, scoring massive films like Spider-Man: Into the Spider-Verse and Steve Jobs.
Back in 2003, his theme for Peep Show was... fine? It was a quirky, harpsichord-heavy piece that felt very "British Sitcom." It had this 60s spy-fi energy that suggested the show was going to be a lighthearted romp through the eyes of two eccentric bachelors.
It was a total lie.
The show wasn't lighthearted. It was a claustrophobic, POV-shot nightmare of social anxiety and moral bankruptcy. By the time Series 2 rolled around in 2004, the producers realized they needed something that matched the frantic, desperate energy of the characters. They needed a song that sounded like a panic attack.
"Flagpole Sitta" and the American Connection
Enter Harvey Danger.
It’s actually kinda funny that one of the most quintessential British comedies of all time uses a song by an American indie rock band from Seattle. "Flagpole Sitta" was released in 1997, years before Mark and Jeremy ever stepped foot into Apollo House.
Why did it work?
"I'm not sick, but I'm not well."
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That opening line is the entire show in a nutshell. It’s the anthem of the functional neurotic. When Sean Nelson sings about being an "amputee with a phantom limb," it mirrors the way Mark Corrigan moves through the world—feeling like something vital is missing, yet paralyzed by the awareness of his own inadequacy.
The song gave the show an edge. It moved it away from "twee comedy" and into "post-punk nihilism." It’s loud, it’s distorted, and it’s deeply catchy in a way that makes you want to scream along while you’re making a piece of toast.
Why the lyrics actually matter
If you listen to the full version of "Flagpole Sitta," it’s a scathing critique of 90s alternative culture and the shallow nature of "being different."
"Been around the world and maybe more / I've seen things that I shouldn't have seen / I've been to the circus, I've been to the zoo / I've been to the record store."
That last line? Pure Jeremy Usborne. It captures that pretend-intellectualism and the desire to be seen as "cool" without actually doing the work. The theme song from Peep Show isn't just background noise; it’s a character study. It bridges the gap between Mark’s self-loathing and Jeremy’s unearned confidence.
The Editing Magic of the Opening Credits
Have you ever noticed how the visuals changed with the music?
In Series 1, the intro was a bit more static. Once they switched to the Harvey Danger track, the editing became frenetic. We get those quick-cut POV shots of the pair doing mundane stuff: looking in the mirror, walking down the street, staring blankly at nothing.
The music dictates the pace.
The "ba-ba-ba" section of the song aligns perfectly with the frantic energy of London life that the show parodies so well. It’s a sensory overload. By the time the title card hits, you’re already primed for the awkwardness to follow. It’s one of those rare cases where a licensed track becomes so synonymous with a show that you can’t imagine it any other way. It’s like The Sopranos and "Woke Up This Morning."
The Licensing Headache
Getting the theme song from Peep Show right wasn't just a creative hurdle; it was a logistical one.
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Music licensing for TV is a nightmare. This is why, if you buy certain DVDs of old shows, the music is different. Sometimes the rights expire, or they're too expensive for home video releases. Fortunately, Channel 4 and the production company, Objective Fiction, managed to keep "Flagpole Sitta" for the vast majority of the show's run and its subsequent life on streaming.
However, Daniel Pemberton’s original score still lingers in the background. If you listen closely to the incidental music throughout the series—the little stings between scenes—you can still hear his influence. He stayed on as the composer, even if his lead song got the boot.
It’s a weirdly collaborative effort. You have the American rock anthem for the hook, and the British orchestral precision for the filler. Much like the duo themselves.
Misconceptions: No, It's Not a "One-Hit Wonder" Thing
People often call Harvey Danger a one-hit wonder because of this song. In the US, maybe. But "Flagpole Sitta" has had a bizarrely long tail because of Peep Show.
It’s a song about the fear of being "normal" and the horror of being "abnormal."
Most sitcom themes are welcoming. Friends tells you "I'll be there for you." Cheers tells you "everyone knows your name." Peep Show tells you "paranoia, paranoia, everybody's coming to get me."
It’s an invitation to a secret club of people who are slightly broken.
Does the song appear in the show?
Strangely, despite its prominence, you never actually hear the characters listen to the song. Jeremy, a self-proclaimed "musician" (and I use that term very loosely), mostly listens to techno or his own "compositions" (The Hair Blair Bunch, anyone?).
It would have been too meta.
The song exists in the "meta-POV." It’s the sound of their souls, not their car radio. When Mark is chasing a bus or Jez is trying to eat a dog, "Flagpole Sitta" is the internal screaming they can't do out loud.
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The Impact of the Change
If they had stuck with the original Series 1 music, would the show have been as successful?
Probably not.
The original music suggested a show about observations. The new music suggested a show about experience. It made the POV gimmick feel like a stylistic choice rather than a technical one. It signaled to the audience that this was going to be raw, loud, and uncomfortable.
The theme song from Peep Show became a shorthand for a specific type of British humor: the kind that hurts a little bit because it's too relatable.
Key Takeaways for Fans and Creators
If you’re looking back at the legacy of this music, there are a few things to keep in mind:
- Trust the Vibe Shift: If a show's intro doesn't match its heart, change it. Peep Show did it after six episodes and never looked back.
- Lyrics Matter: Using a song with lyrics about mental instability for a show about two unstable people isn't "on the nose"—it's effective branding.
- The Power of the Hook: That opening guitar riff acts as a pavlovian trigger. You hear it, and your brain prepares for a half-hour of second-hand embarrassment.
If you want to experience the full evolution, go back to Series 1, Episode 1. Listen to the harpsichord. Then jump to Series 2. The difference isn't just the music; it's the show finally finding its voice.
Your Peep Show Playlist Checklist
To truly appreciate the sonic world of Mark and Jez, you should check out:
- Flagpole Sitta by Harvey Danger: Obviously. Listen to the full version to hear the verses that didn't make the cut.
- The Pipettes (Original Theme) by Daniel Pemberton: Search for the Series 1 credits on YouTube to see how different the show felt.
- This Is Piddly: If you want to dive deep into Jez's "career," look up the various tracks composed for the show, including the infamous "Born Slippy" ripoffs.
- Walking on the Moon: Specifically the scene where Mark tries to be "cool" at a dance class. The music choices throughout the episodes are consistently excellent at highlighting their social failures.
Understanding the theme song from Peep Show is basically a crash course in how to use licensed music to define a subculture. It’s messy, it’s loud, and it’s perfectly cynical.
Next time you hear that "ba-ba-ba," remember that it was almost a harpsichord. We dodged a bullet there. Now, go re-watch "The Wedding" and try not to hide behind a cushion when the music starts. You can't. It's impossible.