WEBVTT - Ep 110: Billy Nomates

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<v Speaker 1>Well, the first time I put a record out was

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<v Speaker 1>when the collapse of music happened, and we worked up

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<v Speaker 1>from there.

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<v Speaker 2>Welcome to Midnight Chats, a podcast of laid back conversations

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<v Speaker 2>with leading names in music. In keeping with these informal interviews,

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<v Speaker 2>each new one is published weekly at midnight. This week's

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<v Speaker 2>episode is hosted by me Greg cochrane from Loud and

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<v Speaker 2>Quiet magazine. Thanks for joining me on Midnight Chats Tonight.

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<v Speaker 2>My guest is tour Maries, better known as the artist

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<v Speaker 2>Billy Nomades. Despite the pandemic turning the world on its

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<v Speaker 2>head in twenty twenty, it was still a breakout year

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<v Speaker 2>for Billy Nomades, who released her self titled debut album

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<v Speaker 2>last August. She followed that up with a brilliant EP,

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<v Speaker 2>Emergency Telephone, that came out in March of this year,

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<v Speaker 2>signed to Invader Records, the label co founded and run

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<v Speaker 2>by Jeff Barrow from Porter said, Billy Nomates was speaking

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<v Speaker 2>to me a couple of weeks ago from Invader HQ

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<v Speaker 2>in Bristol, where she spent the last couple of months

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<v Speaker 2>writing and demoing and recording material for a new album.

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<v Speaker 2>I've really felt for all musicians and the wider music

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<v Speaker 2>community the past eighteen months of everything going on, but

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<v Speaker 2>particularly newer artists, the situation has taken away a lot

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<v Speaker 2>of opportunities for them getting in front of real life

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<v Speaker 2>crowds being the obvious one. But we talk a bit

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<v Speaker 2>about that great to hear that she wants to reclaim

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<v Speaker 2>the experience of her debut album before moving on to

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<v Speaker 2>what comes next. So thank you again to Billy Nomates

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<v Speaker 2>for taking the time out and what was a very

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<v Speaker 2>hot day to record this episode and enjoy some chat

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<v Speaker 2>about everything from relearning basic social skills again as society

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<v Speaker 2>opens back up like we all are doing right through

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<v Speaker 2>to Iggy Pop and his fandom of Billy Nomates. So

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<v Speaker 2>let's get in to it. This is Midnight Chat's number

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<v Speaker 2>one hundred and ten where my guest is Billy Nomads.

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<v Speaker 2>I kind of feel bad about sort of dragging you

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<v Speaker 2>away to speak on our podcast on the day where

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<v Speaker 2>it's like sweltering hot, but I feel I don't feel

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<v Speaker 2>awful because I can see that where I'm speaking to

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<v Speaker 2>you from is in the studio. So you are hard

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<v Speaker 2>at work, You're you're you're in the den, You're not

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<v Speaker 2>out there in the sunshine.

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<v Speaker 1>Today right, I'm shielding from it. Yeah, no, it's really

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<v Speaker 1>I'm not invader studios where I'm writing, and it's very

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<v Speaker 1>nice and cool in here. I'm trying to I don't

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<v Speaker 1>know if they've got an AC system, but it's like

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<v Speaker 1>the air is conditioned. Like I said, you could put

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<v Speaker 1>you could put a jacket on and you'd be all right,

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<v Speaker 1>which is I guess on the mean streets. It's not

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<v Speaker 1>that way right exactly.

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<v Speaker 2>There's too true. What are you like in the heat generally?

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<v Speaker 2>Do you do you run away from it? Or are

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<v Speaker 2>you I actually like it?

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<v Speaker 1>I actually quite like it hot. I do actually prefer

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<v Speaker 1>a hot climate. But there's something about being in a

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<v Speaker 1>city and being in the UK where it's just disgusting,

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<v Speaker 1>do you know what I mean?

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<v Speaker 2>I think it's the proximity to other people, isn't it. Yeah,

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<v Speaker 2>that makes it a whole lot worse.

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<v Speaker 1>When it's like a hot pavement outside Poundland, you just

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<v Speaker 1>go get me out of this hell. But if you're like,

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<v Speaker 1>if you're abroad and it's like thirty degrees, it's fine,

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<v Speaker 1>you know.

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<v Speaker 2>Yeah. Yeah, I must admit one thing that I really

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<v Speaker 2>haven't missed. I know, the start of the pandemic. I mean,

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<v Speaker 2>this is this is really sort of clutching its straws,

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<v Speaker 2>given just how serious the whole situation has been. I

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<v Speaker 2>didn't miss those like really sweaty train journeys or bust

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<v Speaker 2>journeys where you've got no choice, where you're just kind

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<v Speaker 2>of you just close your eyes because you're so close

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<v Speaker 2>to something that you don't know that it's just oh,

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<v Speaker 2>you know, everybody's sweating profusely on a day like this.

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<v Speaker 1>Typically, Oh, to begin with, that was the thing. I

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<v Speaker 1>was just like, this is great. I didn't like people

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<v Speaker 1>next to me or anywhere near me, and now it's like,

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<v Speaker 1>oh great. And then it kind of went along time

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<v Speaker 1>and I was like, Rambo, when here you're just sweat

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<v Speaker 1>next to you, did you.

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<v Speaker 2>Get nostalgic and sweaty strangers?

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<v Speaker 1>Yeah, a little bit. I think we were. I think

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<v Speaker 1>if we were being honest, we all did.

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<v Speaker 2>Yeah, it's true. Yeah, in a gig context, definitely. Like

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<v Speaker 2>I would have given anything at points to just be

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<v Speaker 2>in a crowd at a gig. But on on the

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<v Speaker 2>sort of number one seventy five bus from there from

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<v Speaker 2>will from so Central to Chingford at half us five

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<v Speaker 2>on the Tuesday, I still don't miss it.

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<v Speaker 1>No, you're right, it's a different dynamic, that's true.

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<v Speaker 2>So hey, I can see that obviously you're in the studio.

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<v Speaker 2>Like around you, I can see like mic stands and

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<v Speaker 2>leads and everything else. Like, presumably you are hard at

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<v Speaker 2>work writing new music. What's going on at the moment?

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<v Speaker 2>Are you? Are you sort of doing you know, full

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<v Speaker 2>shifts in the studio writing new material. What's what's happening

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<v Speaker 2>right now?

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<v Speaker 1>It's Jeff kind of just giving me a space really,

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<v Speaker 1>which has been very kind of him. They're kind of

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<v Speaker 1>hard at work working on soundtrack stuff and in the

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<v Speaker 1>big control room, and and then behind me you might

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<v Speaker 1>be able to see, but for the purpose of the podcast,

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<v Speaker 1>behind me, there's a drum booth where I've kind of

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<v Speaker 1>set up my drum machines and my guitars and bits

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<v Speaker 1>and pieces, and I've kind of just been coming in

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<v Speaker 1>every day in the evenings and just chipping away at

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<v Speaker 1>basically the new album, which has been amazing. And I'm

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<v Speaker 1>incredibly grateful for the space because normally I'd just write

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<v Speaker 1>an album in a cupboard.

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<v Speaker 2>Well, it's going to say say in the past, you've

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<v Speaker 2>I mean, the first record was written at your sister's

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<v Speaker 2>kitchen table. Is that right?

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<v Speaker 1>Yeah? Pretty much?

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<v Speaker 2>Yeah, And then the second one was written in the

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<v Speaker 2>sort of family bedroom living with your dad, Is that right?

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<v Speaker 1>Yeah?

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<v Speaker 2>So you're used to basically looking around you and going, right, well,

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<v Speaker 2>this is this is where I'm going to be working what.

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<v Speaker 1>I've I got, And yeah, I know it was, and

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<v Speaker 1>Jeff kind of said, sort of April time, it is like,

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<v Speaker 1>well there's no one really they're doing some sessions, but

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<v Speaker 1>it's like there's no one really here. You could you

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<v Speaker 1>can hide away and do that. So it's incredible. I mean,

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<v Speaker 1>the only the only kind of thing is is that

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<v Speaker 1>you just feel like you need to be super productive

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<v Speaker 1>because now it's like, well I've been given this amazing space,

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<v Speaker 1>so you better write, you better write your best work.

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<v Speaker 1>So but I've got over that. I mean, that's how

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<v Speaker 1>I felt to begin with, and now I'm really over that.

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<v Speaker 1>I'm really not thinking that way anymore. I've been here

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<v Speaker 1>long enough to just go. You turn up, you see

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<v Speaker 1>what happens, maybe you go home, maybe you come back later.

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<v Speaker 1>That's it now, and it feels and you feel at home,

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<v Speaker 1>like to begin with, it's always whenever I used to

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<v Speaker 1>come here. I was always a little bit intimidated because

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<v Speaker 1>it's a fancy.

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<v Speaker 2>Studio and like, great records have been made there, Jeff

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<v Speaker 2>and Jeff and the Invader Labels history is obviously, you know, notable,

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<v Speaker 2>and so there's just a whole sort of aura that

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<v Speaker 2>goes with that.

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<v Speaker 1>Right, totally. Yeah. And I've always feel it the first,

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<v Speaker 1>you know, the first few weeks I'm here. I always

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<v Speaker 1>feel that, and then you kind of start slipping into

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<v Speaker 1>it and you go, oh, hang on, no, it's cool, relax,

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<v Speaker 1>like you're here doing stuff and you know you're you're

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<v Speaker 1>you're supposed to be here. Oh, absolutely, yeah, because it

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<v Speaker 1>takes a minute. You know, I'm constantly like, why am

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<v Speaker 1>I here? Why a me? You know?

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<v Speaker 2>Do you do you feel like you still have a

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<v Speaker 2>sort of a certain amount of sort of well, it's

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<v Speaker 2>sort of imposter syndrome, almost, isn't it. That's what people

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<v Speaker 2>call it when they don't feel like they're in the

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<v Speaker 2>situation that you know that they don't feel you know

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<v Speaker 2>that they should be there for some reason, but like

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<v Speaker 2>you absolutely do, like of course you deserve to be

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<v Speaker 2>there writing new music, like, but yeah, you can't help that.

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<v Speaker 2>Its a little voice in the back of your head sometimes,

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<v Speaker 2>isn't it.

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<v Speaker 1>Oh yeah, I think it's everything. Everyone must have it

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<v Speaker 1>to a degree. And maybe it's weird if you come

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<v Speaker 1>in and you go, yeah.

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<v Speaker 2>Yeah, this is my leather chair.

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<v Speaker 1>I'm captain of this ship. You know, you don't you

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<v Speaker 1>just come in and you go, shit, here we go

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<v Speaker 1>and yeah, but yeah, I've kind of you know, I've

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<v Speaker 1>been here for about seven or eight weeks now, and

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<v Speaker 1>you just learn that you have good days and bad days,

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<v Speaker 1>and some days just don't work at all. And sometimes

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<v Speaker 1>you need to come in late at night. Sometimes you

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<v Speaker 1>need to come in first thing in the morning, and

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<v Speaker 1>that's just the nature of it. Yeah, and then it's

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<v Speaker 1>okay to feel a bit impostery, like yeah, I think

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<v Speaker 1>if I felt ultra confident like, it wouldn't be good,

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<v Speaker 1>you know what I mean, it wouldn't It would be like, Oh,

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<v Speaker 1>hang on, Billy or whatever your name is.

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<v Speaker 2>What's the experienced like the last what's supposed to have been

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<v Speaker 2>a couple of years since you've got to know Jeff

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<v Speaker 2>and the Invader team, Like, are they is there like

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<v Speaker 2>a kindred spirit? How do you get on? I mean,

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<v Speaker 2>obviously they were admirers of your music to work with

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<v Speaker 2>you and you know, release through the label, But how

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<v Speaker 2>do you get on with them as people? It sounds

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<v Speaker 2>like they're giving you, like the time and space to

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<v Speaker 2>do your thing in the studio. At the moment outside

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<v Speaker 2>of that, you know, when you go for a drink

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<v Speaker 2>or something, was it like.

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<v Speaker 1>Oh, it's great. Like I just consider Jeff and ste

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<v Speaker 1>and everyone. I just consider everyone friends. As much as

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<v Speaker 1>I work with them, I just like them as people

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<v Speaker 1>and hopefully it's vice versa. But yeah, they're just cool.

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<v Speaker 1>They're just maybe there's a kindred spirit thing going on.

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<v Speaker 1>I'll just chat with them about anything and everything. And

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<v Speaker 1>it's getting to that point now, especially after the last

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<v Speaker 1>year where and especially coming in every day being like, hi,

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<v Speaker 1>I'm here.

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<v Speaker 2>I don't know if I let myself in, isn't it?

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<v Speaker 1>Yeah? Pretty much there? Now?

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<v Speaker 2>Does anybody want an ice cream? I'm going to the shop.

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<v Speaker 1>That's pretty much where we're at, actually, Jeff, Jeff, pretty good.

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<v Speaker 1>Buy buy sushi for me actually, which is wicked.

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<v Speaker 2>That's excellent. Yeah, it's been a good place there.

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<v Speaker 1>It feels good. Nah, it's cool, you know. I just yeah,

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<v Speaker 1>they're wicked and I really like them and I really

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<v Speaker 1>like that. Jeff's just like he's just one of them people.

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<v Speaker 1>He's just given me the space and he's just what

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<v Speaker 1>he's doing is basically nurturing what I'm doing, and that

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<v Speaker 1>just feels incredibly special and rare. Yeah, I think I'd

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<v Speaker 1>probably be eternally grateful for the way that he's approached

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<v Speaker 1>what I'm doing and sort of trusting me and stepping

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<v Speaker 1>back and then stepping in occasionally and just yeah, and

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<v Speaker 1>you go through the last year, it's like it's been

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<v Speaker 1>pretty hectic and weird and shit, So you kind of

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<v Speaker 1>go through enough stuff that you go, well, you've seen

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<v Speaker 1>me at my absolute worst. We've all had explosive arguments

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<v Speaker 1>in WhatsApp groups, and now it's like now it's pretty

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<v Speaker 1>Now it can sort of sit and have a pint

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<v Speaker 1>and talk about stuff, and yeah, it's cool. You just build,

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<v Speaker 1>you build something and it's a different dynamic and then

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<v Speaker 1>it's it's still working, it's still everything else. But yeah,

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<v Speaker 1>it's great. It's I wouldn't really want for anything else.

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<v Speaker 2>As you're writing new material, do you always just keep

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<v Speaker 2>it to yourself until you consider that it's final and

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<v Speaker 2>it's done, or are you learning to kind of enjoy

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<v Speaker 2>having like an extra ear just to say, hey, can

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<v Speaker 2>you just check this? What do you think of this?

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<v Speaker 2>And I mean when you were making the first record,

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<v Speaker 2>for example, I don't know whether that was there or not,

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<v Speaker 2>whether you were working on that on your own, but

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<v Speaker 2>is it a slightly different dynamic to be able to

0:11:23.760 --> 0:11:27.200
<v Speaker 2>just sort of bounce ideas off somebody checking them with somebody,

0:11:27.240 --> 0:11:29.040
<v Speaker 2>just ask what they think or are you still very

0:11:29.120 --> 0:11:32.240
<v Speaker 2>much like when it's done, I'll share it with somebody,

0:11:32.400 --> 0:11:34.079
<v Speaker 2>But right now this is my thing.

0:11:34.640 --> 0:11:37.720
<v Speaker 1>I'm a bit of both with this one. I've shared

0:11:37.800 --> 0:11:41.480
<v Speaker 1>spits and pieces. I've got lots on the go, the

0:11:41.480 --> 0:11:46.760
<v Speaker 1>ones that I'm thinking I could see that making it.

0:11:46.760 --> 0:11:48.839
<v Speaker 1>It's not quite there, but I could see it making it.

0:11:49.120 --> 0:11:52.720
<v Speaker 1>I'll demo them and send them to Jeff or sometimes Claire,

0:11:53.200 --> 0:11:56.360
<v Speaker 1>my management, and just go, what do you reckon to that?

0:11:56.440 --> 0:11:58.320
<v Speaker 1>What's she got instinct on this? And it will just

0:11:58.320 --> 0:12:00.920
<v Speaker 1>be a little MP three and it won't be it'll

0:12:01.040 --> 0:12:02.960
<v Speaker 1>be nothing spectacular about. It would just be the bare

0:12:03.000 --> 0:12:05.959
<v Speaker 1>bones of it. And that's normally a good gauge because

0:12:06.400 --> 0:12:08.079
<v Speaker 1>with Jeff it will be like a one word and

0:12:08.200 --> 0:12:09.120
<v Speaker 1>so like great.

0:12:11.800 --> 0:12:12.280
<v Speaker 2>Feedback.

0:12:12.480 --> 0:12:18.559
<v Speaker 1>Yeah, yeah, yeah, good track. Yeah, and that's when and

0:12:19.160 --> 0:12:24.480
<v Speaker 1>I'll take that absolutely face value, because he's got no

0:12:25.559 --> 0:12:27.680
<v Speaker 1>you know what I mean, Like you could go not

0:12:27.720 --> 0:12:30.079
<v Speaker 1>sure you know what I mean, and I would take

0:12:30.120 --> 0:12:33.400
<v Speaker 1>that as exactly as it is as well. And Claire's

0:12:33.440 --> 0:12:36.400
<v Speaker 1>good as well. You know, she'll say, oh, I like this,

0:12:36.559 --> 0:12:38.640
<v Speaker 1>or this is good or this has got a good fit.

0:12:38.760 --> 0:12:41.199
<v Speaker 1>I remember, like I've woke up, I remembered that that's

0:12:41.240 --> 0:12:44.120
<v Speaker 1>a good one. I think sometimes you share it. Sometimes

0:12:44.120 --> 0:12:45.800
<v Speaker 1>she has to for my sister, and she'll be like

0:12:46.040 --> 0:12:48.480
<v Speaker 1>I woke up with that in my head, and I'd

0:12:48.520 --> 0:12:51.160
<v Speaker 1>be like, oh, that's good. But yeah, I'm getting I'm

0:12:51.160 --> 0:12:53.080
<v Speaker 1>getting better at it. I don't know. But then there's

0:12:53.120 --> 0:12:57.199
<v Speaker 1>some stuff that I do feel solid on, but I'm like, not.

0:12:57.360 --> 0:13:02.160
<v Speaker 2>Chat dready yet for your ears.

0:13:02.280 --> 0:13:05.640
<v Speaker 1>It's weird. I think it's because I just want I

0:13:05.720 --> 0:13:08.240
<v Speaker 1>almost want to present it. I'm getting to that point

0:13:08.240 --> 0:13:10.079
<v Speaker 1>now where I want to present it as the finished

0:13:10.160 --> 0:13:14.280
<v Speaker 1>article almost or like almost the finished article. So I

0:13:14.360 --> 0:13:17.720
<v Speaker 1>just think because I just want the best reactions, so

0:13:17.800 --> 0:13:21.080
<v Speaker 1>I kind of go ah, which is which is good

0:13:21.080 --> 0:13:24.160
<v Speaker 1>and bad because it means that you throw less demos around.

0:13:24.800 --> 0:13:28.800
<v Speaker 1>But I just get protective and hopefully, hopefully what's I mean?

0:13:28.800 --> 0:13:31.800
<v Speaker 1>I don't know, but hopefully what's happening is that the

0:13:31.920 --> 0:13:36.480
<v Speaker 1>standard of things is going up, hopefully the way I

0:13:36.520 --> 0:13:40.120
<v Speaker 1>approach songwriting and the way I want to do it. Hopefully,

0:13:40.200 --> 0:13:44.800
<v Speaker 1>I'm learning and things are getting slightly better. So maybe

0:13:44.800 --> 0:13:47.000
<v Speaker 1>there's an element of that as well, where I'm getting

0:13:47.000 --> 0:13:50.360
<v Speaker 1>a bit more conscious of what I show people because

0:13:50.400 --> 0:13:51.280
<v Speaker 1>of that. I don't know.

0:13:51.800 --> 0:13:55.840
<v Speaker 2>You mentioned it earlier, like the last eighteen months have

0:13:56.040 --> 0:14:01.120
<v Speaker 2>been weird and shit and bizarre and any number of

0:14:01.160 --> 0:14:04.360
<v Speaker 2>words on those lines. Effectively, you were kind of on

0:14:04.400 --> 0:14:07.160
<v Speaker 2>the eve you were getting everything ready to release a

0:14:07.200 --> 0:14:10.640
<v Speaker 2>debut album in sort of spring twenty twenty. The album

0:14:10.720 --> 0:14:14.280
<v Speaker 2>then come out in the summer. But what are your

0:14:14.320 --> 0:14:17.880
<v Speaker 2>reflections now? Like it must have it must feel slightly

0:14:17.920 --> 0:14:20.760
<v Speaker 2>surreal thinking of the last eighteen months. I mean, what, Yeah,

0:14:20.840 --> 0:14:22.640
<v Speaker 2>how do you think you'll reflect on this period?

0:14:22.800 --> 0:14:25.560
<v Speaker 1>Yeah? I think surreal is the word. Really. I think

0:14:25.600 --> 0:14:30.560
<v Speaker 1>it felt slightly surreal for everyone's So it will always

0:14:30.600 --> 0:14:33.920
<v Speaker 1>be a weird one or it will be memorable. I'd

0:14:33.920 --> 0:14:36.080
<v Speaker 1>be like, Well, the first time I put a record

0:14:36.120 --> 0:14:40.040
<v Speaker 1>out was when the collapse of music happened and we

0:14:40.160 --> 0:14:46.240
<v Speaker 1>worked up from there, you know, like the worst moment

0:14:46.280 --> 0:14:51.000
<v Speaker 1>in musical history is when we arrived, you know. So

0:14:51.240 --> 0:14:55.120
<v Speaker 1>it's memorable. Yeah, it is surreal, and it's a mix. Really,

0:14:55.600 --> 0:14:59.800
<v Speaker 1>what I'm looking forward to Fingers Crossed and Touchwood and

0:14:59.800 --> 0:15:02.960
<v Speaker 1>all the rest of it. That tours will happen later

0:15:03.040 --> 0:15:06.840
<v Speaker 1>in the year, and I want to reclaim that first

0:15:06.840 --> 0:15:10.520
<v Speaker 1>album back because if I'm being honest right now, I

0:15:10.600 --> 0:15:16.840
<v Speaker 1>feel very sad about it still, because it's it's amazing

0:15:16.840 --> 0:15:19.600
<v Speaker 1>that it got out and we did what we did

0:15:19.640 --> 0:15:23.400
<v Speaker 1>and all the rest of it. But it happened without me,

0:15:23.520 --> 0:15:26.440
<v Speaker 1>is what I felt like. And I want to reclaim

0:15:26.480 --> 0:15:30.240
<v Speaker 1>it and perform it and feel it and live it

0:15:30.360 --> 0:15:33.560
<v Speaker 1>like every artist kind of needed to with their work.

0:15:33.600 --> 0:15:35.560
<v Speaker 1>I mean, I think any artists that put out a

0:15:35.600 --> 0:15:38.840
<v Speaker 1>record last year and had intention of touring it or whatever,

0:15:38.920 --> 0:15:40.800
<v Speaker 1>I think we all feel the same. We all feel

0:15:40.840 --> 0:15:45.640
<v Speaker 1>a bit like that was the lost thing that you know,

0:15:46.040 --> 0:15:49.960
<v Speaker 1>and the feedback loop wasn't there really. I Mean, you

0:15:50.040 --> 0:15:54.040
<v Speaker 1>had things like six music and radio and socials where

0:15:54.840 --> 0:15:57.240
<v Speaker 1>it was amazing because there was a real lifeline you

0:15:57.280 --> 0:16:01.920
<v Speaker 1>could you would get DJ's playing stuff, You'd I'd hear

0:16:01.960 --> 0:16:04.960
<v Speaker 1>iggy pop playing songs back to back or Mark Riley

0:16:05.040 --> 0:16:08.160
<v Speaker 1>or Laura la Verne or you know, and you'd go, shit,

0:16:08.280 --> 0:16:12.560
<v Speaker 1>it's doing well, Like I know the world's falling apart,

0:16:12.640 --> 0:16:17.920
<v Speaker 1>but my record's doing okay. And that's just such a strange.

0:16:17.480 --> 0:16:20.880
<v Speaker 2>One I can imagine for some people, like you're saying

0:16:20.880 --> 0:16:23.200
<v Speaker 2>that you felt a little bit sort of almost robbed

0:16:23.240 --> 0:16:26.880
<v Speaker 2>of that moment, because it's less those things you just

0:16:26.920 --> 0:16:30.480
<v Speaker 2>mentioned are great, but they're not as tangible as basically

0:16:30.520 --> 0:16:32.440
<v Speaker 2>playing a gig in March to a certain amount of

0:16:32.440 --> 0:16:35.040
<v Speaker 2>people and then knowing that your album has been so

0:16:35.080 --> 0:16:38.120
<v Speaker 2>well received that you're playing to ten times that amount

0:16:38.160 --> 0:16:40.720
<v Speaker 2>of people in November of that year or whatever. And

0:16:40.760 --> 0:16:43.360
<v Speaker 2>that's a real thing and the energy that that gives

0:16:43.360 --> 0:16:45.040
<v Speaker 2>you in terms of getting in front of people. So

0:16:45.360 --> 0:16:48.000
<v Speaker 2>it's great to hear that you you kind of haven't

0:16:48.200 --> 0:16:49.920
<v Speaker 2>entirely moved on from that, because I'm sure some of

0:16:49.920 --> 0:16:51.920
<v Speaker 2>those artists that went through the same experience as you

0:16:51.960 --> 0:16:56.960
<v Speaker 2>did last year perhaps just a saying Okay, well it's gone.

0:16:57.040 --> 0:17:00.960
<v Speaker 2>That moment's gone, like I'll just move on or whatever.

0:17:01.040 --> 0:17:03.440
<v Speaker 2>But yeah, I'm glad to hear that you still want

0:17:03.480 --> 0:17:05.640
<v Speaker 2>to kind of get some of that energy out there.

0:17:05.960 --> 0:17:09.480
<v Speaker 1>I think I totally understand if the artists that have

0:17:09.560 --> 0:17:14.359
<v Speaker 1>gone that album didn't happen, therefore we're just pulling it

0:17:14.440 --> 0:17:16.920
<v Speaker 1>up by the roots and going for another thing. I

0:17:16.960 --> 0:17:20.000
<v Speaker 1>completely respect and understand that, and there's maybe a little

0:17:20.000 --> 0:17:22.760
<v Speaker 1>part of me that would like to do that. I guess,

0:17:22.800 --> 0:17:25.080
<v Speaker 1>being like at the studio today and I'm working on

0:17:25.119 --> 0:17:28.159
<v Speaker 1>the next album, I'm kind of kind of doing it

0:17:28.240 --> 0:17:31.639
<v Speaker 1>in my own way. But also I just sort of

0:17:31.640 --> 0:17:35.240
<v Speaker 1>feel sad. Yeah, I would feel sad if I did

0:17:35.240 --> 0:17:37.080
<v Speaker 1>that in a way because I go, but then my

0:17:37.160 --> 0:17:40.480
<v Speaker 1>lasting memory but my debut is just this kind of

0:17:41.320 --> 0:17:44.960
<v Speaker 1>sad oh feeling, and I just want to go, oh

0:17:44.960 --> 0:17:49.840
<v Speaker 1>fuck that, No, no, I want I want to reclaim it.

0:17:49.960 --> 0:17:51.919
<v Speaker 1>It's like a bad relationship where you have to like

0:17:52.040 --> 0:17:54.280
<v Speaker 1>go visit the places that you used to go together.

0:17:55.080 --> 0:17:57.960
<v Speaker 2>You know, Oh god, this is sounding dramatic.

0:17:59.119 --> 0:18:01.600
<v Speaker 1>You used to go like this nice place together, and

0:18:01.640 --> 0:18:04.480
<v Speaker 1>then it's like a year after the breakup and you go, no,

0:18:04.600 --> 0:18:07.960
<v Speaker 1>I must go back and have a good time because fucking.

0:18:09.119 --> 0:18:13.000
<v Speaker 2>Yeah, totally. You just mentioned a few of the the

0:18:13.040 --> 0:18:15.439
<v Speaker 2>people that picked up your music and played it and

0:18:15.480 --> 0:18:18.240
<v Speaker 2>shared it and loved it. Iggy pop. For example, what

0:18:18.320 --> 0:18:21.000
<v Speaker 2>a thrill to hear Iggy Pop talking about your music?

0:18:21.040 --> 0:18:22.200
<v Speaker 2>I imagine what was that like?

0:18:22.400 --> 0:18:25.040
<v Speaker 1>Oh man, just surreal, and it's like surreal in a

0:18:25.119 --> 0:18:29.600
<v Speaker 1>very good way. Yeah. Yeah, it's wicked. Just I mean,

0:18:29.600 --> 0:18:32.720
<v Speaker 1>it's Iggy fucking pop, you know what I mean.

0:18:32.960 --> 0:18:36.080
<v Speaker 2>Like, Yeah, I'd just be clipping. I'd take that clip

0:18:36.119 --> 0:18:38.000
<v Speaker 2>and I'd have it on the desktop of my computer

0:18:38.119 --> 0:18:40.159
<v Speaker 2>every morning when I opened it up to work on

0:18:40.240 --> 0:18:42.119
<v Speaker 2>new music. I'd be like, I'm just gonna give myself

0:18:42.119 --> 0:18:43.920
<v Speaker 2>a little boost of just Iggy tell me how great

0:18:43.960 --> 0:18:44.240
<v Speaker 2>I am.

0:18:44.440 --> 0:18:49.760
<v Speaker 1>Yeah, oh no, It's incredible, and it feels very genuine

0:18:49.800 --> 0:18:52.840
<v Speaker 1>as well, because you kind of go, well, this is

0:18:52.880 --> 0:18:56.439
<v Speaker 1>someone who ain't gonna play what they don't want to play,

0:18:56.840 --> 0:18:58.240
<v Speaker 1>or isn't gonna talk, you know what I mean. They've

0:18:58.240 --> 0:19:02.960
<v Speaker 1>got nothing to gain from getting behind an artist like

0:19:03.040 --> 0:19:06.679
<v Speaker 1>me if he didn't want to. So it feels incredibly

0:19:06.720 --> 0:19:10.399
<v Speaker 1>genuine and incredibly just yeah, well cool, very cool.

0:19:10.640 --> 0:19:13.920
<v Speaker 2>Yeah, I'm imagining Iggy Pop the first time he's heard

0:19:13.960 --> 0:19:17.000
<v Speaker 2>your music. This is me just pure imagining Iggy Pop.

0:19:17.040 --> 0:19:19.560
<v Speaker 2>Hears Billy No Mates for the first time. He's on

0:19:19.640 --> 0:19:23.160
<v Speaker 2>his Miami beach front. The wind, the doors are open

0:19:23.240 --> 0:19:25.240
<v Speaker 2>to the beach, he's got his top off, he's shimming

0:19:25.280 --> 0:19:27.720
<v Speaker 2>across his living room floor as he's listening to your music.

0:19:28.200 --> 0:19:29.679
<v Speaker 2>That's what That's what I reckon happened.

0:19:29.760 --> 0:19:34.359
<v Speaker 1>I'm pretty sure that's factual and that will go down

0:19:34.520 --> 0:19:35.359
<v Speaker 1>as fact.

0:19:36.040 --> 0:19:42.240
<v Speaker 2>Yeah, exactly, that's what happened. That's definitely what happened. When

0:19:42.240 --> 0:19:43.560
<v Speaker 2>it comes to the live thing, I mean, you've got

0:19:43.560 --> 0:19:45.760
<v Speaker 2>some brilliant shows books later in the year that's fingers

0:19:45.800 --> 0:19:49.000
<v Speaker 2>crossed do happen things like and the the Road Festival

0:19:49.080 --> 0:19:53.920
<v Speaker 2>and Visions Festival, Manchester Psych Fest, like some great stuff.

0:19:54.280 --> 0:19:56.440
<v Speaker 2>The time in between when you haven't been able to

0:19:56.480 --> 0:19:59.240
<v Speaker 2>go out and play that album and your music generally,

0:19:59.840 --> 0:20:01.199
<v Speaker 2>is it offered you a chance to do a bit

0:20:01.200 --> 0:20:03.000
<v Speaker 2>of a reset on thinking what you want to do

0:20:03.280 --> 0:20:07.600
<v Speaker 2>when it comes to performing, or where you continue with

0:20:07.800 --> 0:20:09.720
<v Speaker 2>kind of plan as say to speak.

0:20:09.840 --> 0:20:12.760
<v Speaker 1>It's weird because I feel like the answer, I feel

0:20:12.760 --> 0:20:15.280
<v Speaker 1>like I should say yes, I've really thought about it

0:20:15.920 --> 0:20:22.320
<v Speaker 1>and it's going to be a bonanza. Except the thing

0:20:22.480 --> 0:20:27.760
<v Speaker 1>is I kind of haven't because the format that it

0:20:27.880 --> 0:20:31.399
<v Speaker 1>was supposed to be is still what it's supposed to be.

0:20:32.320 --> 0:20:34.159
<v Speaker 1>Do you know what I mean, it's still supposed to

0:20:34.200 --> 0:20:40.440
<v Speaker 1>be a contemporary take on performance, and I didn't want

0:20:40.480 --> 0:20:44.439
<v Speaker 1>to overthink that or think, you know, I get it

0:20:44.480 --> 0:20:46.399
<v Speaker 1>a few times where people be like, have you got

0:20:46.440 --> 0:20:48.160
<v Speaker 1>a bandjet? You've got a bandjet, You're going to get

0:20:48.200 --> 0:20:50.040
<v Speaker 1>drumm at least, you're going to get a live drum at least.

0:20:50.080 --> 0:20:53.119
<v Speaker 1>It's like, well, no, And you wouldn't say that to

0:20:53.200 --> 0:20:54.919
<v Speaker 1>an R and B or hip hop artist, you know

0:20:55.000 --> 0:20:58.840
<v Speaker 1>you wouldn't. And it's a weird realm because I understand

0:20:58.920 --> 0:21:01.320
<v Speaker 1>the confusion of like or I'm hearing a guitar but

0:21:01.320 --> 0:21:04.200
<v Speaker 1>there's not a guitarist, and it's like, yeah, I still

0:21:04.280 --> 0:21:05.240
<v Speaker 1>kind of want to do that.

0:21:05.520 --> 0:21:07.639
<v Speaker 2>Where do you think that comes from people thinking like

0:21:08.200 --> 0:21:11.919
<v Speaker 2>that success means adding more people to the formula. Do

0:21:11.920 --> 0:21:14.240
<v Speaker 2>you think that's kind of just a perception thing.

0:21:14.440 --> 0:21:18.240
<v Speaker 1>I don't know. I suppose it's just I think sometimes

0:21:18.320 --> 0:21:20.320
<v Speaker 1>I might be wrong. But the feeling I get is

0:21:20.359 --> 0:21:23.119
<v Speaker 1>like it's not real. It's not real music because the

0:21:23.200 --> 0:21:25.960
<v Speaker 1>musicians aren't there. But it's like, well it's but it's

0:21:26.000 --> 0:21:29.199
<v Speaker 1>all real. It's all real. It's all most of it

0:21:29.280 --> 0:21:31.720
<v Speaker 1>played by me, it's all written by me. It's all

0:21:31.880 --> 0:21:35.200
<v Speaker 1>it's and I don't know, you know, it's a weird one.

0:21:35.240 --> 0:21:37.720
<v Speaker 1>It's I don't know.

0:21:37.680 --> 0:21:39.840
<v Speaker 2>Nobody was saying about Nobody was saying that about Kenya

0:21:39.880 --> 0:21:42.480
<v Speaker 2>west of Glaston Brien. He just did it on his own. Ready, No.

0:21:42.640 --> 0:21:46.760
<v Speaker 1>And there's something about as well, like I don't know,

0:21:46.800 --> 0:21:50.200
<v Speaker 1>I kind of like that. I mean, I refer to

0:21:50.200 --> 0:21:51.920
<v Speaker 1>them all the time. But you know, the first time

0:21:52.000 --> 0:21:54.639
<v Speaker 1>I saw the Sleep of Mods and I was going, oh, well,

0:21:54.680 --> 0:21:59.560
<v Speaker 1>this is samples of real instruments, which is what hip

0:21:59.560 --> 0:22:02.600
<v Speaker 1>hop has on forever, but just in a different context.

0:22:02.600 --> 0:22:04.320
<v Speaker 1>And it was like, well, it's just it's just that

0:22:04.480 --> 0:22:08.040
<v Speaker 1>again in a way. And there's just something about having

0:22:08.080 --> 0:22:11.159
<v Speaker 1>the space. And I mean, I have started. I've just

0:22:11.200 --> 0:22:14.080
<v Speaker 1>started rehearsing. Actually I've probably a bit late off the mark,

0:22:14.320 --> 0:22:16.560
<v Speaker 1>but I've been very cautious because I've had periods of

0:22:16.560 --> 0:22:18.560
<v Speaker 1>time where I've really gone for it and then it's

0:22:18.560 --> 0:22:21.200
<v Speaker 1>all been canceled. So I'm a bit a bit scarred

0:22:21.240 --> 0:22:23.400
<v Speaker 1>by it. So I've been a bit cautious about where

0:22:23.440 --> 0:22:25.200
<v Speaker 1>I put my energy because I want the energy to

0:22:25.240 --> 0:22:26.560
<v Speaker 1>go on the record as well. So I've been a

0:22:26.560 --> 0:22:30.119
<v Speaker 1>bit but I have started and I'm trying not to

0:22:30.200 --> 0:22:34.879
<v Speaker 1>overthink it. I think there's simplicity of it still works

0:22:34.920 --> 0:22:38.359
<v Speaker 1>and still stands, and there may be a time where

0:22:38.359 --> 0:22:42.880
<v Speaker 1>that changes, but it hasn't kind of lived this life

0:22:42.960 --> 0:22:46.879
<v Speaker 1>out yet, so I'm kind of like, well, no, because

0:22:46.920 --> 0:22:49.719
<v Speaker 1>I felt like it was doing something a little bit

0:22:49.760 --> 0:22:53.040
<v Speaker 1>different and so it needs to still do that. Yeah,

0:22:53.080 --> 0:22:56.240
<v Speaker 1>and yeah, and the people that it trips up like good.

0:22:57.000 --> 0:22:59.560
<v Speaker 2>Yeah, yeah, exactly. There's plenty of time to get a

0:22:59.600 --> 0:23:00.920
<v Speaker 2>gospel choiring, isn't there.

0:23:01.040 --> 0:23:05.160
<v Speaker 1>Oh, of course that is absolutely happening.

0:23:05.760 --> 0:23:10.879
<v Speaker 2>Album four. Yeah, you did still manage to do a

0:23:10.880 --> 0:23:13.680
<v Speaker 2>few things that the past eighteen months that were really

0:23:13.760 --> 0:23:16.440
<v Speaker 2>great in terms of live Like before we chat today,

0:23:16.440 --> 0:23:20.400
<v Speaker 2>I was watching back your performance for Jenny Betham Savage's

0:23:20.440 --> 0:23:23.560
<v Speaker 2>works on a TV show called Echoes that some listeners

0:23:23.600 --> 0:23:26.080
<v Speaker 2>might be aware of, but has amazing performances because it

0:23:26.080 --> 0:23:28.760
<v Speaker 2>gives a great space to artists to be able to

0:23:29.000 --> 0:23:31.399
<v Speaker 2>share their music much more kind of long form and

0:23:31.520 --> 0:23:34.359
<v Speaker 2>interesting in a lot of British music television. And you

0:23:34.400 --> 0:23:36.640
<v Speaker 2>were invited to go onto that and your whole performances

0:23:36.680 --> 0:23:38.720
<v Speaker 2>on YouTube. People should go and check it out. What

0:23:38.760 --> 0:23:41.400
<v Speaker 2>was the experience like of going to record that TV show.

0:23:41.520 --> 0:23:43.560
<v Speaker 1>It was great again. It was a little bit surreal

0:23:43.600 --> 0:23:46.119
<v Speaker 1>because it was just as the lockdown had sort of

0:23:46.160 --> 0:23:48.639
<v Speaker 1>lifted at the end of the summer, nipped on the

0:23:48.680 --> 0:23:51.200
<v Speaker 1>Your Star over to Paris, and it was all bit

0:23:51.320 --> 0:23:57.400
<v Speaker 1>masks and no audience and cruising masks and a bit

0:23:58.000 --> 0:24:02.360
<v Speaker 1>a bit tense because those environments are they have been

0:24:02.880 --> 0:24:05.440
<v Speaker 1>and it's intense anyway, because for me it's like quite

0:24:05.440 --> 0:24:08.199
<v Speaker 1>a big thing, like these things are still kind of

0:24:08.240 --> 0:24:11.399
<v Speaker 1>new to me and quite massive throwing like you know,

0:24:11.560 --> 0:24:18.000
<v Speaker 1>the whole Corona thing on top. It's like, oh, Jesus Christ.

0:24:16.440 --> 0:24:19.880
<v Speaker 2>I can imagine how sort of anxiety inducing that is.

0:24:19.920 --> 0:24:23.479
<v Speaker 1>Oh it's insane, Like you kind of are just holding

0:24:23.520 --> 0:24:27.240
<v Speaker 1>it together and then thinking about your performance. That's how

0:24:27.280 --> 0:24:31.040
<v Speaker 1>I felt that all aside. Once it's kind of up

0:24:31.080 --> 0:24:35.320
<v Speaker 1>and rolling, it's incredible. I mean it's like it's Jenny

0:24:35.359 --> 0:24:39.960
<v Speaker 1>Beth and I think she's absolutely ace, Like I love

0:24:40.080 --> 0:24:42.800
<v Speaker 1>what she does and what she stands for. To be

0:24:42.880 --> 0:24:45.040
<v Speaker 1>invited and to go and do it it felt very,

0:24:45.480 --> 0:24:49.119
<v Speaker 1>very cool and very although it was weird because I

0:24:49.160 --> 0:24:52.680
<v Speaker 1>remember coming back and telling everyone being like, yeah, I

0:24:52.720 --> 0:24:56.480
<v Speaker 1>haven't seen anyone for like about six or seven months.

0:24:56.520 --> 0:24:59.080
<v Speaker 1>At this point, and the first time I go and

0:24:59.119 --> 0:25:02.240
<v Speaker 1>see people go and sit under some lights and have

0:25:02.280 --> 0:25:07.200
<v Speaker 1>a conversation with Jenny bear Fontaine's DC and Emmel He's

0:25:07.240 --> 0:25:11.320
<v Speaker 1>an amazing singer songwriter, and it's filmed. So I felt

0:25:11.320 --> 0:25:14.200
<v Speaker 1>like I come across so bad because you know when

0:25:14.280 --> 0:25:15.960
<v Speaker 1>you like when we first came out and we're all

0:25:15.960 --> 0:25:17.240
<v Speaker 1>like learning to speak.

0:25:16.960 --> 0:25:19.840
<v Speaker 2>Again, yeah, and social contact and.

0:25:19.880 --> 0:25:23.160
<v Speaker 1>Basic conversations like are just still a little bit hard

0:25:23.200 --> 0:25:26.000
<v Speaker 1>to begin with. And then so the first experience of

0:25:26.040 --> 0:25:28.639
<v Speaker 1>that is for me was like that. So I'm a

0:25:28.640 --> 0:25:33.200
<v Speaker 1>bit like, OHI guys, do you know. I mean, I've

0:25:33.240 --> 0:25:35.119
<v Speaker 1>tried to come in and be on badass, and I'm like,

0:25:35.520 --> 0:25:37.080
<v Speaker 1>it's just really nice to be out.

0:25:38.520 --> 0:25:42.880
<v Speaker 2>Like, the only person I'm spoking to in eight months

0:25:42.960 --> 0:25:44.080
<v Speaker 2>is a local shopkeeper.

0:25:44.280 --> 0:25:47.440
<v Speaker 1>Literally, it's been me and that person down the post

0:25:47.520 --> 0:25:50.840
<v Speaker 1>office for a long time. And now this is what's this?

0:25:53.200 --> 0:25:55.240
<v Speaker 2>It was good, This is new, This is real life,

0:25:55.320 --> 0:25:57.840
<v Speaker 2>nuanced discussion, And like I thought that that's a thing

0:25:57.840 --> 0:26:00.000
<v Speaker 2>from the olden times, isn't it. We've got We've got

0:26:00.080 --> 0:26:01.960
<v Speaker 2>Twitter now and TikTok. We don't need that.

0:26:02.119 --> 0:26:04.639
<v Speaker 1>Oh, I mean, we're talking about art and poetry and

0:26:04.840 --> 0:26:07.800
<v Speaker 1>art history, and I'm just sat there like, oh my god,

0:26:09.280 --> 0:26:10.120
<v Speaker 1>what happened?

0:26:10.840 --> 0:26:15.040
<v Speaker 2>How am I here? Sounds amazing though, what a great

0:26:15.080 --> 0:26:16.199
<v Speaker 2>experience it was.

0:26:16.359 --> 0:26:19.080
<v Speaker 1>I really really enjoyed myself, and I'm so so thrilled

0:26:19.080 --> 0:26:20.720
<v Speaker 1>that they asked me to go. It was amazing.

0:26:21.280 --> 0:26:24.080
<v Speaker 2>I don't normally look at the YouTube comments on videos,

0:26:24.119 --> 0:26:26.640
<v Speaker 2>but I was. I was watching a performance from Echoes

0:26:26.680 --> 0:26:29.520
<v Speaker 2>and couldn't help but notice that somebody had said that

0:26:29.520 --> 0:26:31.399
<v Speaker 2>they were loving it, but that they said that they

0:26:31.440 --> 0:26:34.280
<v Speaker 2>worked on a crane, and I just thought that was great,

0:26:34.320 --> 0:26:37.880
<v Speaker 2>because I just I love the idea of somebody watching

0:26:37.960 --> 0:26:41.520
<v Speaker 2>you on YouTube whilst being on a giant crane doing

0:26:41.560 --> 0:26:44.640
<v Speaker 2>some kind of like construction project. A little bit dangerous,

0:26:44.680 --> 0:26:46.720
<v Speaker 2>but I love the idea of that.

0:26:46.800 --> 0:26:48.760
<v Speaker 1>I'm gonna be honest, I do not endorse.

0:26:48.440 --> 0:26:51.640
<v Speaker 2>That for health and safety reasons.

0:26:51.880 --> 0:26:55.120
<v Speaker 1>Absolutely not encourage that. Why are you watching me? Why

0:26:55.200 --> 0:26:58.320
<v Speaker 1>you're on a crane? Honest to god, Wait till you

0:26:58.320 --> 0:26:58.720
<v Speaker 1>get home.

0:27:01.040 --> 0:27:03.520
<v Speaker 2>He's got he's probably just waiting for some bricks or something.

0:27:03.600 --> 0:27:03.840
<v Speaker 2>You know.

0:27:04.880 --> 0:27:09.159
<v Speaker 1>Yeah, I just oh, no, like, well, well chuffed you

0:27:09.200 --> 0:27:11.960
<v Speaker 1>watch me? But opera crane? Is it?

0:27:12.920 --> 0:27:16.199
<v Speaker 2>Exactly? Can you please concentrate on what you're doing. I

0:27:16.240 --> 0:27:17.959
<v Speaker 2>don't know whether they were doing it, where they were

0:27:17.960 --> 0:27:19.119
<v Speaker 2>doing it at the same time, or whether they just

0:27:19.119 --> 0:27:20.919
<v Speaker 2>felt like that was just you know, I work, I

0:27:20.960 --> 0:27:23.880
<v Speaker 2>work with cranes. Maybe that was just an imp Maybe

0:27:23.920 --> 0:27:26.240
<v Speaker 2>that's just an important bit of information to add on

0:27:26.280 --> 0:27:27.439
<v Speaker 2>to the fact that they enjoyed it.

0:27:27.840 --> 0:27:30.200
<v Speaker 1>So we don't know whether he's talking about the birds.

0:27:30.560 --> 0:27:33.240
<v Speaker 2>Could well be working in a nature reserve, not a

0:27:33.840 --> 0:27:35.680
<v Speaker 2>not a big housing development, for example.

0:27:35.720 --> 0:27:38.600
<v Speaker 1>He might have just been sat there feeding them, watching it.

0:27:38.760 --> 0:27:39.280
<v Speaker 1>We don't know.

0:27:40.080 --> 0:27:41.639
<v Speaker 2>That's a lot safer. Do you endorse that?

0:27:41.960 --> 0:27:45.359
<v Speaker 1>Yes, Yes, that's got the stuff. That's got my stuff

0:27:45.359 --> 0:27:47.520
<v Speaker 1>for reprieval, get the birds involved.

0:27:47.720 --> 0:27:51.119
<v Speaker 2>In terms of music fandom, you're your own kind of

0:27:51.560 --> 0:27:53.720
<v Speaker 2>love of music. Like I've read and heard in the

0:27:53.760 --> 0:27:56.840
<v Speaker 2>past that you are a big fan of northern soul

0:27:56.920 --> 0:28:00.119
<v Speaker 2>music and like eighties pop and things like that. Ye,

0:28:00.280 --> 0:28:02.520
<v Speaker 2>just tracing things a little bit further back in terms

0:28:02.600 --> 0:28:04.760
<v Speaker 2>of the music that you first fell in love with

0:28:04.840 --> 0:28:06.960
<v Speaker 2>and stuff you still consider to be like your absolute

0:28:07.080 --> 0:28:09.960
<v Speaker 2>kind of center of the record collection, things that are

0:28:10.000 --> 0:28:11.720
<v Speaker 2>just you know, precious to you. What what kind of

0:28:11.800 --> 0:28:12.880
<v Speaker 2>music are we talking about there?

0:28:13.720 --> 0:28:17.040
<v Speaker 1>It's really varied, but yeah, I go back to I

0:28:17.160 --> 0:28:20.199
<v Speaker 1>go back to Northern Soul records because the energy is

0:28:20.280 --> 0:28:24.120
<v Speaker 1>just so captured in them, and I love that. I mean,

0:28:24.160 --> 0:28:27.080
<v Speaker 1>I like some old punk records. I think that does

0:28:27.119 --> 0:28:29.520
<v Speaker 1>the same thing, but Northern Soul, it was kind of

0:28:29.520 --> 0:28:33.399
<v Speaker 1>that melodic energy and I really relate and feel that.

0:28:33.760 --> 0:28:37.720
<v Speaker 1>But also, yeah, like eighties pop and do you know what,

0:28:38.240 --> 0:28:40.320
<v Speaker 1>I was not really cool, but I was listened to

0:28:40.360 --> 0:28:43.320
<v Speaker 1>Greatest Hits Radio through the Park of the day. They

0:28:43.320 --> 0:28:46.440
<v Speaker 1>were doing like the archive of like Simple Minds stuff.

0:28:47.320 --> 0:28:51.480
<v Speaker 1>It's belting, Like I think, I think their album like

0:28:52.240 --> 0:28:54.280
<v Speaker 1>what's the what? I can't remember what their hit were

0:28:54.320 --> 0:28:56.080
<v Speaker 1>real hit one was, but they went through it all

0:28:56.080 --> 0:28:58.720
<v Speaker 1>and I was like every track is wicked. Yeah, I

0:28:58.760 --> 0:29:00.080
<v Speaker 1>just kind of went back and I was like, that's

0:29:00.080 --> 0:29:02.040
<v Speaker 1>bloody good, like it's got a live and I think

0:29:02.080 --> 0:29:05.440
<v Speaker 1>it's got a live and kicking and don't you forget

0:29:05.480 --> 0:29:08.560
<v Speaker 1>about me? And they wrote really really well. But yeah,

0:29:08.600 --> 0:29:13.240
<v Speaker 1>I just you know, yeah, anything kind of really real

0:29:13.520 --> 0:29:16.800
<v Speaker 1>with energy and feeling. But I also have a real

0:29:16.840 --> 0:29:20.480
<v Speaker 1>love for Americana music. That was really central growing up.

0:29:21.280 --> 0:29:24.520
<v Speaker 1>My dad has always listened to Americana records and people

0:29:24.560 --> 0:29:28.920
<v Speaker 1>I hung around with at the time were into Americana stuff. Yeah,

0:29:28.920 --> 0:29:31.400
<v Speaker 1>and I remember like, yeah, a lot of James Taylor

0:29:31.600 --> 0:29:35.600
<v Speaker 1>and John Denver. I don't like I mentioned John Denver

0:29:35.640 --> 0:29:38.440
<v Speaker 1>a few times and it's so far removed from brilliant omtes,

0:29:38.520 --> 0:29:43.719
<v Speaker 1>but I do have a love for it though. Yeah.

0:29:43.960 --> 0:29:47.160
<v Speaker 2>We've touched on it a little bit about the plans

0:29:47.160 --> 0:29:48.400
<v Speaker 2>for the rest of the year, which you'll be getting

0:29:48.400 --> 0:29:51.000
<v Speaker 2>out there and playing some gigs, some great stuff booked,

0:29:51.000 --> 0:29:52.960
<v Speaker 2>and obviously you're there in the studio kind of working

0:29:53.000 --> 0:29:56.000
<v Speaker 2>on stuff now. But touch wood, what are your you know,

0:29:56.040 --> 0:29:59.400
<v Speaker 2>without any further setbacks, which we're all hoping that, you know,

0:29:59.760 --> 0:30:03.040
<v Speaker 2>the rest of the year can go without more of those.

0:30:03.400 --> 0:30:05.080
<v Speaker 2>What are're looking forward to? What are your kind of

0:30:05.080 --> 0:30:07.520
<v Speaker 2>hopes in terms of like sharing some of that new

0:30:07.600 --> 0:30:08.520
<v Speaker 2>music that you're working on.

0:30:08.760 --> 0:30:12.760
<v Speaker 1>I'd really hope to finish the record and yeah, maybe

0:30:12.800 --> 0:30:16.280
<v Speaker 1>share it towards the end, share something from it towards

0:30:16.320 --> 0:30:20.200
<v Speaker 1>the end of the year, and have it kind of

0:30:21.280 --> 0:30:24.840
<v Speaker 1>there's no solid dates, but in the ether next year. Yeah,

0:30:24.880 --> 0:30:27.800
<v Speaker 1>So that's kind of the broad goal. I say broad

0:30:28.680 --> 0:30:31.120
<v Speaker 1>any artist will know at the moment with the way

0:30:31.160 --> 0:30:33.760
<v Speaker 1>that pressing plants have got cues and stuff. You kind

0:30:33.760 --> 0:30:35.880
<v Speaker 1>of have to narrow it down a bit and go,

0:30:36.480 --> 0:30:39.760
<v Speaker 1>we need to roughly know when because there's quite a yeah,

0:30:39.760 --> 0:30:40.760
<v Speaker 1>it's quite a queue.

0:30:41.200 --> 0:30:43.320
<v Speaker 2>So a lot of listeners won't be aware of this,

0:30:43.400 --> 0:30:47.400
<v Speaker 2>but basically when the pandemic obviously came along and everybody thought,

0:30:47.440 --> 0:30:49.440
<v Speaker 2>hang on, we just want to see what's going on

0:30:49.480 --> 0:30:52.200
<v Speaker 2>with this, like perhaps this record we're going to release,

0:30:52.240 --> 0:30:54.080
<v Speaker 2>we'll just hang on for a minute, just see when

0:30:54.080 --> 0:30:56.360
<v Speaker 2>the picture becomes clearer. And what you've got now is

0:30:56.440 --> 0:30:59.400
<v Speaker 2>this enormous queue of people that want to obviously get

0:30:59.680 --> 0:31:01.920
<v Speaker 2>vineyl made to a company when they release stuff still

0:31:02.600 --> 0:31:04.680
<v Speaker 2>hugely important in terms of getting some income in when

0:31:04.800 --> 0:31:07.480
<v Speaker 2>when you're you know, releasing music, getting a physical product

0:31:07.520 --> 0:31:10.320
<v Speaker 2>out there, but there's a massive backlog. There's basically not

0:31:10.480 --> 0:31:15.640
<v Speaker 2>enough factories, you know, producing vinyl, and so what's the

0:31:15.680 --> 0:31:18.000
<v Speaker 2>waytime like eight nine months or something, isn't it?

0:31:18.080 --> 0:31:20.480
<v Speaker 1>Yeah, it's pretty crazy, Like I think we found one

0:31:20.480 --> 0:31:24.640
<v Speaker 1>that's saying roughly five or six. But yeah, so once

0:31:24.680 --> 0:31:27.240
<v Speaker 1>you have that in your heads, you go, well, even

0:31:27.240 --> 0:31:30.239
<v Speaker 1>when you're talking about next year, you still have to

0:31:30.280 --> 0:31:34.479
<v Speaker 1>be mindful of when those Masters are done, and yeah,

0:31:34.480 --> 0:31:36.320
<v Speaker 1>so the freedom's kind of taken it. It's not so

0:31:36.440 --> 0:31:38.840
<v Speaker 1>much like I wish I was the artist. It's just

0:31:38.880 --> 0:31:42.000
<v Speaker 1>like it's done when I say it's done, Like, no,

0:31:42.240 --> 0:31:45.720
<v Speaker 1>it's done when you need to get it in, you.

0:31:45.680 --> 0:31:47.840
<v Speaker 2>Know, need to book a slot now, even though it's

0:31:47.840 --> 0:31:48.360
<v Speaker 2>not finished.

0:31:48.840 --> 0:31:51.480
<v Speaker 1>In a weird way, yeah, Like I think everyone's kind

0:31:51.480 --> 0:31:55.200
<v Speaker 1>of gone into massively overplanning a bit because it's kind

0:31:55.200 --> 0:31:56.960
<v Speaker 1>of had to be that way to make to make

0:31:57.000 --> 0:31:59.240
<v Speaker 1>things happen, just because of the way the world.

0:31:59.040 --> 0:32:00.880
<v Speaker 2>Is and in the meantime, and we all just need

0:32:00.920 --> 0:32:04.480
<v Speaker 2>to build like a pop up vinyl factory because they're

0:32:04.520 --> 0:32:06.760
<v Speaker 2>easy to do, Yeah, and just to sort of meet

0:32:06.800 --> 0:32:09.240
<v Speaker 2>the demand in the next eighteen lenths as people start

0:32:09.280 --> 0:32:10.280
<v Speaker 2>releasing music again.

0:32:10.480 --> 0:32:14.320
<v Speaker 1>Absolutely now was weirdly now would probably be the time

0:32:14.400 --> 0:32:16.360
<v Speaker 1>to set up a final factory.

0:32:16.880 --> 0:32:18.640
<v Speaker 2>Yeah, especially in the UK, so you didn't have to

0:32:18.640 --> 0:32:23.320
<v Speaker 2>mess with all of the Brexit hurdles should we call them.

0:32:23.680 --> 0:32:25.080
<v Speaker 1>I don't know the ins and outs, but I know

0:32:25.120 --> 0:32:26.520
<v Speaker 1>it's a bit of a nightmare. Yeah.

0:32:26.600 --> 0:32:29.200
<v Speaker 2>Yeah, it's difficult to get stock back from Europe and

0:32:29.200 --> 0:32:31.280
<v Speaker 2>stuff without you know, obviously having to all the new

0:32:31.320 --> 0:32:34.320
<v Speaker 2>regulations and stuff, but I mean that sounds exciting, and

0:32:34.320 --> 0:32:37.040
<v Speaker 2>then on top of that, hopefully playing some shows before

0:32:37.040 --> 0:32:40.360
<v Speaker 2>the year is then before he's gone, like you know, yeah,

0:32:40.440 --> 0:32:41.600
<v Speaker 2>let's keep our fingers crossed.

0:32:41.680 --> 0:32:44.120
<v Speaker 1>Fingers crossed. There's a UK tour booked, a lot of

0:32:44.160 --> 0:32:47.440
<v Speaker 1>it's sold out as well, which is great. Yeah, from

0:32:47.480 --> 0:32:52.680
<v Speaker 1>October and then maybe doing some appearances elsewhere at the

0:32:52.760 --> 0:32:55.959
<v Speaker 1>end of the year on the kind of exciting things.

0:32:57.240 --> 0:33:02.000
<v Speaker 1>So yeah, just fingers cross things can run because it's

0:33:02.120 --> 0:33:03.840
<v Speaker 1>so tiring when they don't.

0:33:05.000 --> 0:33:07.440
<v Speaker 2>Final question, what would you consider if you know, when

0:33:07.480 --> 0:33:09.120
<v Speaker 2>gigs come back and you can get out there and

0:33:09.160 --> 0:33:13.040
<v Speaker 2>play them, what if you could just have one if

0:33:13.040 --> 0:33:15.959
<v Speaker 2>it was only one gig that got to happen in

0:33:16.000 --> 0:33:19.000
<v Speaker 2>almost like normal life. What's almost like, what's the hometown

0:33:19.080 --> 0:33:22.520
<v Speaker 2>gig or the most similar equivalent that you were just like,

0:33:22.720 --> 0:33:24.960
<v Speaker 2>I just want to play that show because that would

0:33:24.960 --> 0:33:27.440
<v Speaker 2>be amazing. Is there anything like that in your mind?

0:33:27.560 --> 0:33:31.520
<v Speaker 1>I actually can't say the one that I am thinking

0:33:31.560 --> 0:33:34.560
<v Speaker 1>of because it's sort of not announced yet, but there

0:33:34.600 --> 0:33:39.880
<v Speaker 1>is one stadium. It's not Wembley Stadium, but it's it

0:33:39.920 --> 0:33:43.280
<v Speaker 1>would be quite a pinnacle moment. I think, Yeah, you know, like,

0:33:43.720 --> 0:33:46.800
<v Speaker 1>I've got a show sold out showbook to just in

0:33:46.800 --> 0:33:48.600
<v Speaker 1>the back of rough Trade in Bristol, and I just

0:33:48.640 --> 0:33:51.720
<v Speaker 1>feel like that would be great to do because it's

0:33:51.720 --> 0:33:54.600
<v Speaker 1>just especially being here, it's a shopped up you know.

0:33:54.600 --> 0:33:57.880
<v Speaker 1>I walk past it every day now and see people

0:33:57.920 --> 0:34:01.080
<v Speaker 1>in masks and say, alone, the idea of kind of

0:34:01.200 --> 0:34:05.040
<v Speaker 1>just it's just anywhere anywhere on that tour list. Oh,

0:34:05.040 --> 0:34:07.440
<v Speaker 1>I tell you what, it looks interesting. I'm doing a

0:34:07.480 --> 0:34:11.520
<v Speaker 1>matinee show in Huddersfield Library on a Sunday on a

0:34:11.560 --> 0:34:16.600
<v Speaker 1>Sunday afternoon down with that. Yeah, Initially I saw it

0:34:16.640 --> 0:34:21.600
<v Speaker 1>and was like, what the hell in all honestly, who's

0:34:21.640 --> 0:34:26.080
<v Speaker 1>done this? And then and then I saw the whole

0:34:26.080 --> 0:34:28.160
<v Speaker 1>loud in library thing and thought, oh no that actually

0:34:28.200 --> 0:34:30.919
<v Speaker 1>this looks dead cool, and actually it is dead cool,

0:34:30.960 --> 0:34:32.640
<v Speaker 1>like they have loads of artists, and I was like,

0:34:32.680 --> 0:34:35.400
<v Speaker 1>oh a library. I like that. I really liked the

0:34:35.440 --> 0:34:39.120
<v Speaker 1>idea of it. So I cut that. I slagged it off.

0:34:39.160 --> 0:34:43.279
<v Speaker 2>I didn't mean it, But now that you're research like,

0:34:43.280 --> 0:34:44.239
<v Speaker 2>I'm thoroughly into this.

0:34:44.400 --> 0:34:46.800
<v Speaker 1>No, now I think it's dead cool. Well, just interesting

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<v Speaker 1>place places where there aren't maybe venues seem pretty interesting

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<v Speaker 1>because especially for what I do. You don't necessarily need

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<v Speaker 1>a venue, you just need a space, So I think

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<v Speaker 1>that makes it kind of interesting.

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<v Speaker 2>To find previous episodes of Midnight Chats, simply search your

0:35:02.160 --> 0:35:05.759
<v Speaker 2>podcast app. Don't forget to follow or subscribe to keep up,

0:35:05.800 --> 0:35:09.400
<v Speaker 2>as they're published every week at midnight. For more information

0:35:09.480 --> 0:35:12.800
<v Speaker 2>on the music magazine that makes this series, visit loudanquiet

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<v Speaker 2>dot com.

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<v Speaker 1>Anyway, goodnight,