WEBVTT - Kylie Minogue 0:00:01.240 --> 0:00:04.880 Welcome to Inside the Studio presented by I Heart Radio. 0:00:05.480 --> 0:00:17.280 I'm your host, Joe Levy. Okay, fire up the strobe lights, 0:00:17.840 --> 0:00:22.320 get out the mirror ball. If you want, we can 0:00:22.320 --> 0:00:24.520 get on Amazon and order up a bubble machine. I 0:00:24.600 --> 0:00:28.520 just checked. They're pretty inexpensive. But let's get all that 0:00:28.600 --> 0:00:32.199 gear together because my guest to this episode is Kylie Minogue, 0:00:32.800 --> 0:00:37.839 whose new album Disco is a quarantine dance party in 0:00:38.000 --> 0:00:42.080 pretty much every sense, by which I mean it's not 0:00:42.280 --> 0:00:46.040 just an album guaranteed to get you up off the 0:00:46.200 --> 0:00:51.120 couch and onto whatever passes for a dance floor in 0:00:51.159 --> 0:00:54.720 the COVID bubble of your choice, but also that this 0:00:54.760 --> 0:00:58.279 album was recorded in part during lockdown. Some songs were 0:00:58.320 --> 0:01:03.040 written over zoom calls. Kylie had to set up microphones 0:01:03.080 --> 0:01:06.160 at home teach herself to use some recording software like 0:01:06.240 --> 0:01:09.480 Logic and pro Tools so she could capture her vocals 0:01:09.560 --> 0:01:12.000 on her own when she could not get to a 0:01:12.080 --> 0:01:17.080 studio to finish her fifteen studio album, And that fifteen 0:01:17.160 --> 0:01:20.240 studio album is also the first Kylie album on which 0:01:20.280 --> 0:01:25.240 she gets a credit for additional vocal production. Disco is 0:01:26.520 --> 0:01:32.440 update on some vintage seventies dance floor romance. Songs like 0:01:32.560 --> 0:01:35.000 I Love It and Missing Things celebrate the kind of 0:01:35.040 --> 0:01:41.279 fun that starts well after sundown and ends shortly before 0:01:41.360 --> 0:01:46.440 or after sunrise. And though the hasn't exactly been a 0:01:46.520 --> 0:01:51.000 good year, it's been a surprisingly good year for albums 0:01:51.000 --> 0:01:56.480 that chase that sort of after sundown, just before sunrise 0:01:56.600 --> 0:02:00.440 kind of fun. There's dualas future and nostalgia. With arrived 0:02:00.480 --> 0:02:03.360 at the end of March, so that's a dance party 0:02:03.360 --> 0:02:05.600 that we got just as the world was grinding to 0:02:05.760 --> 0:02:10.640 a halt. Lady Gaga's Chromatica got that at the end 0:02:10.680 --> 0:02:13.680 of May, Jesse Waars What's Your Pleasure came a month 0:02:13.720 --> 0:02:16.080 after that at the end of June, and now November 0:02:16.639 --> 0:02:21.760 has brought us Kylie's Disco. Maybe it's a little strange 0:02:21.800 --> 0:02:24.160 that a year in which dance floors have been off 0:02:24.200 --> 0:02:27.880 limits has also been a good year for albums celebrating 0:02:27.880 --> 0:02:32.480 the joys of dancing, But it's certainly worth remembering all 0:02:32.520 --> 0:02:36.000 these albums had their roots in pre pandemic times, and 0:02:37.240 --> 0:02:42.480 those pre pandemic times in only seem untroubled in comparison 0:02:42.560 --> 0:02:48.320 to the universality of our troubles these days, so it's 0:02:48.360 --> 0:02:51.799 also worth remembering that disco has always been a music 0:02:51.919 --> 0:02:55.120 of liberation, the same way that rock and roll was 0:02:55.800 --> 0:02:59.720 back in the nineteen fifties, when Elvis the Pelvis shook 0:02:59.720 --> 0:03:02.400 his ups and Little Richard first let loose the power 0:03:02.600 --> 0:03:06.959 of two D fruity. In all these cases, dancing was 0:03:07.000 --> 0:03:11.320 a way of putting liberation into motion, and Kylie actually 0:03:12.000 --> 0:03:15.600 talked about just this. I've found all these correlations between 0:03:15.600 --> 0:03:18.480 disco music and this year that disco was born out 0:03:18.480 --> 0:03:21.880 of darkness, it was born out of struggle and adversity 0:03:21.919 --> 0:03:24.679 and people trying to find a place to belong and 0:03:25.160 --> 0:03:28.040 be accepted and expressed themselves and all of that kind 0:03:28.040 --> 0:03:31.600 of stuff. People clearly have been creating just the sort 0:03:31.639 --> 0:03:36.840 of escapism and liberation that Kylie's disco album offers. I mean, 0:03:36.840 --> 0:03:39.839 it entered the charts at number one, making Kylie one 0:03:39.880 --> 0:03:44.040 of six artists who have topped the UK album charts 0:03:44.120 --> 0:03:49.200 in five consecutive decades. And those other artists are Paul McCartney, 0:03:49.280 --> 0:03:54.080 John Lennon, Paul Weller, Bruce Springsteen, David Gilmore and now 0:03:54.160 --> 0:03:57.000 Kylie Minogue. And I think it's fair to say that 0:03:57.160 --> 0:03:59.640 Kylie looks a lot better in sequence than any of 0:03:59.640 --> 0:04:02.880 those dudes, just like I also think it's fair to 0:04:02.920 --> 0:04:06.520 say that, like a lot of women making great pop music, 0:04:07.480 --> 0:04:13.120 she never quite gets the credit she deserves. And she 0:04:13.200 --> 0:04:17.400 started out in the late eighties pop factory of stock 0:04:17.440 --> 0:04:19.960 Akin and Waterman. Those are the guys who gave the 0:04:20.000 --> 0:04:22.480 world Rick Astley is never going to give you up, 0:04:22.520 --> 0:04:25.600 and early Kylie hits like Hand on Your Heart or 0:04:25.640 --> 0:04:31.400 her cover of Locomotion are in eternal sugar high. So 0:04:31.520 --> 0:04:35.000 Kylie's ability to turn that kind of start into a 0:04:35.200 --> 0:04:39.720 long lasting career that puts her in the company of 0:04:40.000 --> 0:04:44.560 Paul McCartney and Bruce Springsteen is pretty astounding. And it's 0:04:44.600 --> 0:04:50.400 a combination of determination, experimentation, and some glamour kissed reinvention. 0:04:51.400 --> 0:04:54.120 I mean, she spent the nineties being all sorts of 0:04:54.160 --> 0:04:58.920 different Kylie's Got Kylie duetting with Nick Cave, trip Hop, 0:04:59.000 --> 0:05:03.080 Kylie getting Loozy on put Yourself in My Place, all 0:05:03.279 --> 0:05:06.920 rock Higlie working with two of the Manic Street Preachers 0:05:06.920 --> 0:05:10.760 on some kind of Bliss, which I just played for 0:05:10.800 --> 0:05:12.599 the first time in a long time and it sounds 0:05:12.640 --> 0:05:15.680 like the theme song to a lost James Bond movie. 0:05:16.839 --> 0:05:20.760 And she did all of this before settling into playing 0:05:20.839 --> 0:05:24.960 old iconic Kylie by the two thousand and one album Fever, 0:05:25.080 --> 0:05:27.880 which gave us the immortal hit Can't Get You out 0:05:27.920 --> 0:05:33.160 of My Head. How immortal you can actually hear? Jesse 0:05:33.279 --> 0:05:35.400 Ware paid tribute to Can't Get You out of My 0:05:35.480 --> 0:05:39.640 Head on the title track to her disco album What's 0:05:39.640 --> 0:05:42.680 Your Pleasure, in much the same way to Can't Get 0:05:42.680 --> 0:05:45.320 You out of My Head picked up the robo disco 0:05:45.480 --> 0:05:51.799 sound of Georgio Moroder's Midnight It's Breast soundtrack. In other words, 0:05:52.160 --> 0:05:57.359 Kylie herself is now the kind of classic sound that 0:05:57.600 --> 0:06:00.200 she paid tribute to in two thousand and one, then 0:06:00.240 --> 0:06:05.880 she's paying tribute to all over disco. Kylie talked with 0:06:05.920 --> 0:06:08.520 me about how the roots of this new album go 0:06:08.640 --> 0:06:12.480 back to a pretty elaborate concept that accompanied the tour 0:06:12.640 --> 0:06:17.359 for her previous albums Golden, which she had recorded in 0:06:17.480 --> 0:06:20.760 Nashville and which she described at the time as Dolly 0:06:20.800 --> 0:06:24.719 Parton standing on a dance floor. And she also talked 0:06:24.760 --> 0:06:28.200 about what it was like to go from playing a 0:06:28.320 --> 0:06:31.479 concert in Brazil and really hitting her stride in March 0:06:31.640 --> 0:06:37.120 recording this album to having the pandemic shut everything down, 0:06:38.480 --> 0:06:41.240 and the challenges of making this kind of dance music 0:06:41.320 --> 0:06:45.480 with collaborators. She's never had the opportunity to meet her 0:06:46.200 --> 0:06:51.080 celebrate now their success with face to face. Here's what 0:06:51.120 --> 0:06:55.280 else she had to say. Kylie, welcome to inside the 0:06:55.360 --> 0:07:00.400 studio and congratulations on the success of Disco. We're talking 0:07:00.480 --> 0:07:02.880 just a couple of days after the album has gone 0:07:02.880 --> 0:07:05.920 into the UK charts at number one. So this makes 0:07:05.960 --> 0:07:09.400 it your eighth number one album and it sets a 0:07:09.560 --> 0:07:12.440 record of its own. You are now the first female 0:07:12.560 --> 0:07:14.800 artist to have a number one album in the UK 0:07:15.120 --> 0:07:20.320 in five separate decades. It's crazy, right, How does it? 0:07:20.600 --> 0:07:22.600 What does that feel like? I know I have to 0:07:22.680 --> 0:07:25.520 explain that I'm fifty two and it's been five decades, 0:07:25.560 --> 0:07:27.920 so it's it's um. It does sound like you started 0:07:27.960 --> 0:07:32.680 making records when you were two years. Someone on Twitter 0:07:32.720 --> 0:07:36.840 the other day said, wow, you know, five number ones 0:07:36.920 --> 0:07:45.280 in in five centuries? Wow? Five centuries an accomplishment you 0:07:45.320 --> 0:07:50.160 would you would mean making records in prehistoric times. Yeah. Yeah, 0:07:50.200 --> 0:07:53.000 there are some days where it feels, you know, I 0:07:53.040 --> 0:07:56.720 may feel like it's been that long, but no, it's 0:07:56.760 --> 0:08:00.800 an incredible feat. I had no idea of this impending 0:08:01.640 --> 0:08:04.080 stat when I was making the album, which was just 0:08:04.120 --> 0:08:06.680 as well, because I've really kind of felt the pressure 0:08:06.760 --> 0:08:10.480 leading up to the release. But yeah, so late eighties, 0:08:10.880 --> 0:08:14.800 the first year of the ties um that's how they 0:08:14.800 --> 0:08:17.720 have managed to kind of shoehorn that statistic in there. 0:08:17.760 --> 0:08:20.920 But nevertheless, I'm really proud of it. Yeah, No, I mean, 0:08:21.000 --> 0:08:24.440 I love the fact that there's a there's another stat 0:08:24.800 --> 0:08:27.840 The Beatles, Elvis Presley, the Stones, Bob Dylan, they've all 0:08:27.960 --> 0:08:32.080 had number ones in five decades, but not consecutively, not 0:08:32.200 --> 0:08:35.079 five consecutive decades the way you had, right, So they 0:08:35.160 --> 0:08:37.679 really Beatles should really work on their consistency a little more. 0:08:37.720 --> 0:08:43.040 I think, yeah, oh yeah, well, gosh, amazing company. And 0:08:43.080 --> 0:08:46.640 to be the first UM female, the first solo female 0:08:46.679 --> 0:08:50.600 to do it's it's it's nuts. Yeah. Well, let's talk 0:08:50.679 --> 0:08:54.040 about disco and how it came to be, how how 0:08:54.040 --> 0:08:56.680 this party got started. So you you finished the tour 0:08:56.800 --> 0:08:59.679 for for your last album, Golden, I think in March 0:08:59.760 --> 0:09:04.480 of and then you were back recording just about six 0:09:04.640 --> 0:09:07.760 months after that, back in the studio, and the Golden 0:09:07.760 --> 0:09:10.319 tour did have a studio fifty four section. When you 0:09:10.400 --> 0:09:13.360 got to Locomotion, that song started with a little Donna 0:09:13.440 --> 0:09:16.559 summer shout shout out a little bad girls, Beep Beep two, 0:09:16.640 --> 0:09:19.960 two and and And is that where this disco idea 0:09:20.040 --> 0:09:23.840 started or was it something else for you? Well, I 0:09:23.880 --> 0:09:27.560 think it's been a lifelong love affair of disco anyway, 0:09:27.720 --> 0:09:32.040 but certainly leading up to this album, You're right, the 0:09:32.080 --> 0:09:37.680 Golden Tour in we had this loose narrative for the show, 0:09:37.720 --> 0:09:42.280 which no one in the audience needed to totally get, 0:09:42.360 --> 0:09:46.320 but just have the sense of. And so I'm gonna 0:09:46.320 --> 0:09:48.240 have to I've got to rewind a bit just to 0:09:48.320 --> 0:09:51.880 get to how we got to disco. Um. When we 0:09:52.240 --> 0:09:56.000 started rehearsals for the Golden Tour, just in conversation, we're 0:09:56.000 --> 0:09:58.920 trying to come up with this narrative, and we came 0:09:59.000 --> 0:10:02.360 up with this idea that what if Donna Summer had 0:10:02.559 --> 0:10:04.560 she was in Los Angeles and she had a gig 0:10:05.160 --> 0:10:06.760 that night in New York. I had to get to 0:10:06.800 --> 0:10:09.160 New York on the next night. I don't understand time 0:10:09.200 --> 0:10:12.000 difference in this moment, but you know, she's got to 0:10:12.000 --> 0:10:15.680 get to New York to appear at Studio fifty four. 0:10:16.240 --> 0:10:19.160 But the planes canceled, there's a storm, there's whatever. The 0:10:19.200 --> 0:10:23.200 flights canceled, and so our narrative was this kind of 0:10:23.280 --> 0:10:27.640 cross country journey and arriving at Studio fifty four. Thus, 0:10:27.920 --> 0:10:32.440 the penultimate part of the concert is our version of 0:10:32.480 --> 0:10:35.200 Studio fifty four. And every time I would get to 0:10:35.280 --> 0:10:38.240 that part of the show, not least because it was 0:10:38.240 --> 0:10:40.960 a home stretch. So it's like, Okay, I think we've 0:10:40.960 --> 0:10:43.480 made it through another show and everyone's kind of peaking 0:10:43.520 --> 0:10:47.240 it by this stage. But it just felt like such 0:10:47.280 --> 0:10:50.040 a it felt like home to me. I mean, I've 0:10:50.080 --> 0:10:52.760 never been to Studio fifty four. It's it's a fantasy 0:10:52.840 --> 0:10:56.720 for me. But I think it's so it's it's um 0:10:56.920 --> 0:11:00.160 imagery that the music that it's presence is still was 0:11:00.160 --> 0:11:03.800 strong that you can kind of, you know, insert yourself 0:11:04.080 --> 0:11:07.840 in a fantasy landscape to Studio fifty four. So yeah, 0:11:07.960 --> 0:11:11.080 that's what I thought, Okay, next album, this is where 0:11:11.120 --> 0:11:13.680 I want to be. So after the Greatest Hits Tour 0:11:13.760 --> 0:11:15.960 in twenty nine thing, that's when I went into the 0:11:16.000 --> 0:11:24.240 studio and yeah, disco became a thing for me. Yeah, no, 0:11:24.600 --> 0:11:27.360 quite evidently, So so that was the idea even you 0:11:27.400 --> 0:11:30.200 started in in about September of last year, and I 0:11:30.240 --> 0:11:33.280 think one of the first songs we heard the very 0:11:33.280 --> 0:11:36.880 first single, say Anything, I think came from the first session. Yeah, 0:11:37.200 --> 0:11:40.520 it's exactly for the first session for the album. Did 0:11:40.520 --> 0:11:43.719 you have the idea in mind then? Did you think, yeah, 0:11:43.800 --> 0:11:46.600 we're making a disco album right from the start? Um. 0:11:47.240 --> 0:11:51.680 When I went in for that session, it was it 0:11:51.800 --> 0:11:55.199 was more it was more for fun and just to 0:11:55.280 --> 0:11:59.199 kind of settle myself. And I wanted to put um 0:11:59.480 --> 0:12:03.600 Biffs at it, Biff Standard and John Green together because 0:12:03.600 --> 0:12:06.200 I've worked with for a long time John just for 0:12:06.480 --> 0:12:09.240 a short time. Well, I was quite sure that something 0:12:09.240 --> 0:12:11.400 good would come of putting the three of this in 0:12:11.440 --> 0:12:16.640 a room together. Um. So yeah, I hadn't although disco 0:12:16.760 --> 0:12:20.320 is our dance floors on my mind. Um, I think 0:12:20.520 --> 0:12:24.679 with this particular session, I didn't want to label it 0:12:24.720 --> 0:12:27.960 as anything. Just let's get together and see what happens. 0:12:28.000 --> 0:12:31.479 And that's when Say Something was written. And then earlier 0:12:31.559 --> 0:12:34.720 this year, once we decided, okay, the album it's going 0:12:34.760 --> 0:12:37.120 to be called disco. This is the lane that we're 0:12:37.160 --> 0:12:40.680 going down. And for a while I was I was thinking, 0:12:40.679 --> 0:12:43.280 how how say Something going to fit into this because 0:12:43.320 --> 0:12:46.679 we didn't write that disco in mind, but we've felt 0:12:46.720 --> 0:12:48.839 like it had a bit of state of independence kind 0:12:48.840 --> 0:12:51.400 of feeling. I mean, we wish but you know, kind 0:12:51.440 --> 0:12:55.920 of could latch onto that in a kind of seventies vibe, 0:12:56.600 --> 0:12:58.960 and it turned out had enough to be in the 0:12:59.040 --> 0:13:02.000 disco theme. But I didn't go into that session saying 0:13:02.800 --> 0:13:06.480 fellas it's disco, right. But it's also so striking because 0:13:06.520 --> 0:13:09.680 it is the first single we heard from this record, 0:13:09.760 --> 0:13:13.640 and it comes from last September, so it's from the 0:13:13.679 --> 0:13:18.960 before times before we you know, before COVID. But thematically, 0:13:19.520 --> 0:13:21.600 when when you first heard it, you know that that 0:13:21.679 --> 0:13:24.880 opening line, we're a million miles apart in a thousand, 0:13:25.120 --> 0:13:28.240 a thousand ways, it felt so of the moment. It 0:13:28.520 --> 0:13:31.680 felt almost like it was created in reaction to to 0:13:31.760 --> 0:13:36.440 where we were. Yeah, I mean, I've heard a number 0:13:36.440 --> 0:13:40.480 of artists say similar things with songs that they wrote 0:13:40.760 --> 0:13:45.840 just before drama of I guess it's just a reminder 0:13:45.880 --> 0:13:50.319 of the power of music that making it is one thing, 0:13:50.360 --> 0:13:53.320 but how it translates and what it becomes in the 0:13:53.360 --> 0:13:56.120 real world is is something you can't predict. You can't 0:13:57.040 --> 0:13:59.560 you can't even really manifest. You just have to let 0:13:59.559 --> 0:14:01.480 it go and see what happens. First thing, I didn't 0:14:01.480 --> 0:14:03.160 know if that song would even make it on the album. 0:14:03.240 --> 0:14:07.839 It was so beautifully odd that I was I was 0:14:07.920 --> 0:14:11.640 kind of preparing to resign myself to potentially the fact 0:14:11.720 --> 0:14:15.120 that they would. They the label would say, yeah, we 0:14:15.400 --> 0:14:17.400 pould like it, but we just don't think it's going 0:14:17.440 --> 0:14:20.320 to hit the mark. So then when it was on 0:14:20.360 --> 0:14:23.520 the album and then selected as the first unanimously as 0:14:23.560 --> 0:14:25.640 the first single, I just I thought I kicked a 0:14:25.680 --> 0:14:29.760 goal through the posts. There we go. And then this 0:14:29.840 --> 0:14:33.040 year through Lockdown, when I finished was finishing the album 0:14:33.080 --> 0:14:36.160 at home and listened to that song in its in 0:14:36.200 --> 0:14:38.440 its stages because we added to it and developed it 0:14:38.560 --> 0:14:40.640 through this year, And there was one day I listened 0:14:40.680 --> 0:14:43.720 to it just outside, and I mean it just it 0:14:43.800 --> 0:14:45.800 was like we didn't we hadn't written it. It was 0:14:45.800 --> 0:14:47.880 like it fell from the sky and it was saying 0:14:47.960 --> 0:14:50.880 something that we needed to hear. It was amazing, I 0:14:50.920 --> 0:15:01.400 mean sad and wonderful and amazing. You know you you 0:15:02.000 --> 0:15:05.640 just mentioned the all the drama of do I have 0:15:05.720 --> 0:15:08.920 this right? Did I read that? Right before Lockdown started? 0:15:09.040 --> 0:15:14.360 You had a concert in Brazil? Yeah, I had in 0:15:14.480 --> 0:15:17.160 San Paula, like about just about a week before I 0:15:17.240 --> 0:15:22.680 did so, sixth of March. I'm not great with dates, 0:15:22.720 --> 0:15:26.920 but I definitely remember the sixth of March because we 0:15:27.040 --> 0:15:30.760 knew that there was uncertainty in the air, and I 0:15:31.280 --> 0:15:33.720 would say for the two weeks leading up to that gig, 0:15:33.800 --> 0:15:36.000 I was just waiting for the phone call saying canceled, 0:15:36.040 --> 0:15:39.160 We're not going, which would have been absolutely fine, of course, 0:15:39.280 --> 0:15:41.960 but yeah, we went, and it was just it was 0:15:42.000 --> 0:15:46.120 that last It was my last big show, and thankfully 0:15:46.160 --> 0:15:48.200 we all got there and back and everyone was safe. 0:15:49.440 --> 0:15:52.640 And that's great to hear how big those Brazilian crowds 0:15:52.680 --> 0:15:56.200 can be, cuge, how big a crowd was. It wasn't 0:15:56.680 --> 0:16:00.880 one of those mega, enormous, endless brazil million crowds. It 0:16:00.960 --> 0:16:03.360 wasn't like a rock and Rio or something like that, 0:16:03.600 --> 0:16:08.280 but it was a sizeable crowd whose passion. I mean, 0:16:08.720 --> 0:16:12.520 I don't think I heard anything four songs. I literally 0:16:12.800 --> 0:16:15.720 was looking at my band, looking at my sound monitor guy, 0:16:16.080 --> 0:16:19.480 just like I'm singing. I could I don't know if 0:16:19.520 --> 0:16:23.320 I'm singing remotely and key in time. It was just 0:16:23.400 --> 0:16:26.840 like this this wave of emotion. And I know they're 0:16:26.880 --> 0:16:29.760 famous for it, but we still hadn't quite prepared ourselves 0:16:29.840 --> 0:16:32.640 for it. So yeah, my last big show that I 0:16:32.680 --> 0:16:35.720 did is you know still ringing in my ears? Actually sorry, 0:16:35.760 --> 0:16:38.560 the last show full stop and just under the Wire too, 0:16:38.560 --> 0:16:41.120 because if that's March six, I guess that's about ten 0:16:41.240 --> 0:16:46.160 days before the stay at Home orders come down. And 0:16:46.200 --> 0:16:48.880 how much of the album was was done by that 0:16:49.000 --> 0:16:53.320 because you you were you at that point had the 0:16:53.360 --> 0:16:58.040 concept in mind and some songs finished. Yeah, So I 0:16:58.080 --> 0:17:02.280 would have been in the studio before going to sub 0:17:02.360 --> 0:17:06.959 polo and then for sure when I got back, and 0:17:07.000 --> 0:17:10.840 I would say even in those last a few days 0:17:10.880 --> 0:17:14.600 between arriving back from Spollo and the lockdown in London, 0:17:15.640 --> 0:17:19.040 I was we were I say we were. We were 0:17:19.080 --> 0:17:22.960 at a strong cantor not galloping, but a strong canter 0:17:23.080 --> 0:17:25.119 as far as the album goes like We've got you know, 0:17:25.320 --> 0:17:27.960 you work so hard every day and then I mean 0:17:28.000 --> 0:17:30.080 I get consumed by it. So I was in and 0:17:30.119 --> 0:17:34.240 out of studios until the day before Lockdown. Actually, I 0:17:34.240 --> 0:17:37.760 think maybe the day before Lockdown we wrote I Love It. 0:17:37.840 --> 0:17:41.040 But we were aware in various sessions and different writers 0:17:41.480 --> 0:17:46.400 that Lockdown was blooming. It hadn't been um, it wasn't 0:17:46.960 --> 0:17:49.560 the date wasn't determined, but we were aware of it. 0:17:49.640 --> 0:17:52.720 So it was definitely creeping into the writing process at 0:17:52.760 --> 0:17:57.160 that time. So two questions, what's that like, you're you're 0:17:57.240 --> 0:18:00.280 you're in a cantor you're you're making this record and 0:18:01.359 --> 0:18:06.919 it's a dance party record and then everything stops? And 0:18:07.320 --> 0:18:10.040 what were you feeling at that moment when things ground 0:18:10.040 --> 0:18:13.920 to a halt. Was there any sense of, oh, maybe 0:18:14.400 --> 0:18:17.639 maybe it's time for a sad singer songwriter record or 0:18:18.160 --> 0:18:21.800 are we really going to the disco still? I mean, what, 0:18:21.880 --> 0:18:23.679 how how soon were you back at work and what 0:18:23.720 --> 0:18:28.200 were your feevors? You know what. I'd have to even 0:18:28.240 --> 0:18:31.480 I'd have to look at emails and messages because it's 0:18:31.520 --> 0:18:33.280 a bit of a blur that time. As soon as 0:18:33.320 --> 0:18:36.479 lockdown happened and there wasn't There were no no planes, 0:18:37.200 --> 0:18:43.560 hard any cars. It was just that eerie silence, the uncertainty. 0:18:43.800 --> 0:18:46.280 We didn't know if this was this two weeks, three weeks, 0:18:47.200 --> 0:18:48.960 are we going to kind of go back to normal 0:18:49.119 --> 0:18:52.359 or so we all thought. We all thought a month 0:18:52.400 --> 0:18:57.200 would be a long time, like it'll be over a month, 0:18:57.440 --> 0:19:01.520 come on, Yes, So I think it was I want 0:19:01.560 --> 0:19:04.399 to say, maybe three weeks or so before I really 0:19:04.440 --> 0:19:08.280 started thinking about I could be wrong at the time 0:19:08.440 --> 0:19:12.520 that even now, time is very strange, you know, was 0:19:12.520 --> 0:19:14.400 was it this morning or was it six months ago? 0:19:15.760 --> 0:19:19.000 Which Thursday is this? Is this the Thursday that was yesterday? 0:19:19.040 --> 0:19:24.359 Or the Thursday that the same, right exactly? So anyway, 0:19:24.520 --> 0:19:28.600 I think when it became evident that we weren't going back, 0:19:29.040 --> 0:19:31.159 you know, I'm not going to see you in the studio, 0:19:31.560 --> 0:19:35.719 then I must have, you know, I wanted to carry on. 0:19:35.720 --> 0:19:39.160 I don't even know how this was decided, or whether 0:19:39.200 --> 0:19:41.159 I spoke to one of my producers and said, well, 0:19:41.200 --> 0:19:43.600 let's try and do remote. I actually can't remember it was. 0:19:43.600 --> 0:19:46.320 It's all a bit of a haze around there. But 0:19:46.880 --> 0:19:51.520 I did remember that I had a basic microphone and 0:19:51.560 --> 0:19:58.080 an interface somewhere. Thankfully it was in my home and 0:19:58.160 --> 0:20:00.040 I found it in a cupboard, which to me it 0:20:00.200 --> 0:20:03.560 was the first miracle. I had never used them before. 0:20:03.760 --> 0:20:07.879 So I was thinking, right, okay, it looks like it 0:20:07.920 --> 0:20:10.480 looks like that cable goes with that, and I think 0:20:10.480 --> 0:20:13.359 I could. I mean, I've never plugged I've never plugged 0:20:13.400 --> 0:20:16.159 it in. So I was sending pictures to one of 0:20:16.200 --> 0:20:18.399 my producers says, yeah, that looks all right, Yeah, you 0:20:18.400 --> 0:20:21.400 just do that that and that, and start on garage 0:20:21.440 --> 0:20:23.600 but garage band, and you know, we can at least 0:20:23.640 --> 0:20:27.320 get some demos done. We weren't thinking about remote recording 0:20:27.400 --> 0:20:31.520 like proper session recording, just carrying on the writing process. 0:20:31.600 --> 0:20:34.400 And so we did it like that for a little bit, 0:20:34.760 --> 0:20:37.960 and then it wasn't too long before one of my 0:20:38.080 --> 0:20:42.760 other producers, Timmy Brunilla, who's I mean, they're all a bit. 0:20:43.359 --> 0:20:46.200 They're all a bit often like anyway with their equipment 0:20:46.200 --> 0:20:48.399 and the gear and how you technically do this. But 0:20:48.520 --> 0:20:52.520 Timu was amazing. He arranged the mic for me, he 0:20:52.600 --> 0:20:56.159 was talking with the people in um where were they 0:20:56.160 --> 0:20:58.800 in nodding him? I think was a company that collated 0:20:58.800 --> 0:21:03.280 all the pieces together, sorted out the laptop with pro tools, 0:21:03.400 --> 0:21:07.000 with logic, with just the stuff I needed, and did 0:21:07.040 --> 0:21:11.280 test sessions with them. So he was like my my 0:21:11.359 --> 0:21:16.080 fairy team, my fairy princess. And he's a finish writer 0:21:16.280 --> 0:21:20.439 producer who worked on the first three tracks I know, Magic, 0:21:20.600 --> 0:21:22.919 miss a Thing, Real Groove, he worked on all of those. 0:21:23.520 --> 0:21:26.200 And do I have this right? You've never actually met 0:21:26.320 --> 0:21:29.920 him face to face? Correct. I was due to fly 0:21:30.000 --> 0:21:33.840 to l A for a two week writing session with him. 0:21:33.880 --> 0:21:37.240 In March, so obviously that didn't happen, so we did 0:21:37.280 --> 0:21:40.000 everything remotely. Yeah, I only know him from the waist 0:21:40.080 --> 0:21:43.160 up in two dimensional form. I cannot wait to meet. 0:21:43.280 --> 0:21:45.920 How did you first connect? Then you were going to 0:21:46.000 --> 0:21:48.840 go for a writing session in l A. How did 0:21:48.880 --> 0:21:51.200 how did the two of you come together to get 0:21:51.200 --> 0:21:54.920 even that on the calendar? That was from the song Magic, 0:21:55.320 --> 0:21:58.760 which my I and r Jamie Nelson got hold of 0:21:59.480 --> 0:22:01.560 and we all fell in love with that track. We thought, 0:22:01.600 --> 0:22:05.880 this is this is really good and also the real 0:22:05.920 --> 0:22:09.359 group and missed thing. So the Trifector, the first three 0:22:09.359 --> 0:22:12.960 songs um had seem Me on them, so that felt 0:22:13.000 --> 0:22:16.800 like I finished those with with the writers and producers. 0:22:16.880 --> 0:22:20.320 But yeah, we he was like we felt like he 0:22:20.320 --> 0:22:23.359 could be a conduit for us to access disco, but 0:22:23.920 --> 0:22:27.320 have it cool and have a kind of for one 0:22:27.359 --> 0:22:29.480 of a better way to say itause, I'm sure this 0:22:29.560 --> 0:22:32.280 has been used to thousand times and put my stamp 0:22:32.280 --> 0:22:34.840 on it and a modern stamp on it as opposed 0:22:34.840 --> 0:22:38.600 to it being a pastiche and cover. Because any disco 0:22:38.680 --> 0:22:42.080 songs you're going to reference, you can't. There's no point 0:22:42.119 --> 0:22:45.320 to do them again. They're just perfect and that became 0:22:45.400 --> 0:22:48.880 a bit of a you know, like something to contend with. Actually, 0:22:49.400 --> 0:22:53.119 you'd think, on paper, Kylie disco, Sure, we'll do this 0:22:53.160 --> 0:22:57.360 in no time, but actually it was it really required 0:22:57.400 --> 0:23:00.560 a bit of um, you know, chipping away, looking from 0:23:00.560 --> 0:23:03.679 different angles and how close can we go to it, 0:23:03.920 --> 0:23:08.600 you know, referencing Abba Begs, Donna, Summer Shake, etcetera, etcetera. 0:23:08.840 --> 0:23:11.560 Because what you wanted to make wasn't just a disco 0:23:11.680 --> 0:23:14.160 in a sense of, oh, we're gonna make a dance 0:23:14.200 --> 0:23:17.600 pop record which maybe has some thumb popping bass on 0:23:17.640 --> 0:23:20.640 a tracker. To you, you know you you were referencing 0:23:20.640 --> 0:23:24.639 and taking inspiration from a lot of classic grooves. I 0:23:25.200 --> 0:23:29.360 know you brought up Lionel Richie. You just mentioned Abba 0:23:29.840 --> 0:23:32.240 and I definitely hear that on a couple of different tracks. 0:23:32.440 --> 0:23:35.800 Donna Summer Studio fifty four is mentioned. You know, like 0:23:36.440 --> 0:23:38.600 the touchstones are all there, and if you've got to 0:23:38.640 --> 0:23:41.640 set those as your touchdones, you you you better get 0:23:41.760 --> 0:23:44.080 the group better be right. But you also wanted to 0:23:44.119 --> 0:23:48.359 be something more than we We would start some things 0:23:48.640 --> 0:23:52.520 and go, okay, let's get a baseline that's similar to 0:23:53.600 --> 0:23:57.280 blah blah, I kind of remember what but just didn't 0:23:57.359 --> 0:24:01.600 hit you know. So anyway, thanks to amazing producers and 0:24:01.840 --> 0:24:04.359 tenacity and as I say, chipping away and looking at 0:24:04.359 --> 0:24:08.920 it from different angles, we got there. And it transpires 0:24:08.960 --> 0:24:12.159 that the roots of disco are seventies my you know, 0:24:12.240 --> 0:24:14.800 I fell in love with disco back then, but then 0:24:14.840 --> 0:24:16.960 it morphed through the years and there's a bit of 0:24:17.400 --> 0:24:22.720 eighties electronica, um you know, some some parts of that 0:24:22.760 --> 0:24:26.520 then even some self referencing in early two thousand's when 0:24:26.520 --> 0:24:28.000 I had a bit of disc like a bit of 0:24:28.000 --> 0:24:31.199 electro disco then. So yeah, it's turned out to be 0:24:31.280 --> 0:24:34.359 a thankfully not just rooted in this, not just a 0:24:34.520 --> 0:24:38.240 tracing And it's so interesting to me be you were 0:24:38.280 --> 0:24:42.520