WEBVTT - Ep 154: When artists upset their hardcore fans

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<v Speaker 1>Good evening, I'm Greg Cochran, Good evening, I'm Stuart Stubbs.

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<v Speaker 1>We are a couple of journalists who've been working in

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<v Speaker 1>independent music since the days of my Space.

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<v Speaker 2>One night a week, we become your guides through the

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<v Speaker 2>week in music, because, let's face it, the algorithms have

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<v Speaker 2>stopped working for most of us.

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<v Speaker 1>So we're here to share the best new underground music

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<v Speaker 1>and the news that you might have missed, as well

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<v Speaker 1>as discussing the week's biggest headlines and bringing you interviews

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<v Speaker 1>with some of our favorite alternative artists.

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<v Speaker 2>The show is called Midnight Chats.

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<v Speaker 1>Tonight. Everything we're talking about on this podcast is related

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<v Speaker 1>to live music. Had you noticed this? I hadn't clocked that,

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<v Speaker 1>stud No, but that's exciting it is. Do you want

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<v Speaker 1>to talk about you going to a sexy club in

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<v Speaker 1>Amsterdam now? Or shall we build up to it?

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<v Speaker 2>No, let's just go straight there, shall we?

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<v Speaker 1>Okay? What was the name of the club? Again?

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<v Speaker 2>I'll give you a little bit and everybody listening, little

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<v Speaker 2>bit of context.

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<v Speaker 1>I think in these contexts you went to let's call

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<v Speaker 1>it a sex club in Holland. That's all where anyone

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<v Speaker 1>needs to know.

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<v Speaker 2>Okay, Fine, I'm feeling very sleepy tonight as we as

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<v Speaker 2>we record this year, because I've just come back from

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<v Speaker 2>Amsterdam from AD which is the Amsterdam Dance Event, which

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<v Speaker 2>is just absolutely massive, incredible, something like five hundred thousand visitors,

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<v Speaker 2>two hundred venues, I think a thousand events across like

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<v Speaker 2>four nights as the festival. It is a big deal.

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<v Speaker 2>But yes, what you're referring to is that on Friday

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<v Speaker 2>night I did go to a club called sexy land World,

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<v Speaker 2>which is doesn't it turns out it's not just a

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<v Speaker 2>brilliant name for a club, but is a brilliant club.

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<v Speaker 2>Like some people might have been there, it's a bit

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<v Speaker 2>of it's pretty legendary I think in the city and

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<v Speaker 2>on the scene, like a three floor club on the

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<v Speaker 2>north of the river in Amsterdam, and a friend of

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<v Speaker 2>ours was DJing and it was brilliant. Had a great time.

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<v Speaker 2>But yes, it was as much fun to tell everybody

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<v Speaker 2>that you've been to sexy land World and to look

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<v Speaker 2>at your banking app the next morning and go, oh,

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<v Speaker 2>I spent some money in sexy land World, and.

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<v Speaker 1>A lot of money at sexy land World. I mean,

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<v Speaker 1>it's an incredible name for a club. It's always been

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<v Speaker 1>called sexy Land World, has it?

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<v Speaker 2>I don't. I don't know if it's always been called

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<v Speaker 2>sexy Land World, but it's interesting.

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<v Speaker 1>That they added the world on. I didn't just call

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<v Speaker 1>it sexy Land. They've gone sexy Land and they've gone

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<v Speaker 1>that's not quite enough. We need something else there. World.

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<v Speaker 3>Yeah.

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<v Speaker 1>Yeah, and I think the world is making it, to

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<v Speaker 1>be honest, it's a sexy Land World, is it? What?

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<v Speaker 1>What type of music are were they playing in sexy

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<v Speaker 1>Land World?

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<v Speaker 2>A lot of e funk on that night, which was

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<v Speaker 2>a bit of a new discovery for me because basically

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<v Speaker 2>ade is I mean, not only is it every form

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<v Speaker 2>of dance music that you can possibly think of, but

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<v Speaker 2>in recent years obviously you know, you've got everything from

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<v Speaker 2>like hip hop to you know, to the grime to

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<v Speaker 2>whatever as well. It's it's a lot of stuff. But

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<v Speaker 2>on that particularly night, yeah, they're playing efunk. One of

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<v Speaker 2>the j's was soul Claps, so yeah, it was just

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<v Speaker 2>it was like good vibes, like up up vibes in there.

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<v Speaker 2>It wasn't like there was other stuff that I saw

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<v Speaker 2>over the weekend, which was you know, like Eastern European psych,

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<v Speaker 2>trance and like some really hard techno. But yeah, it

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<v Speaker 2>turns out I do like stuff with a melody, particularly

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<v Speaker 2>particularly at like five o'clock in the afternoon. It was

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<v Speaker 2>brilliant and it's a bit different. Normally I'd be watching

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<v Speaker 2>Gladiators on a Saturday tea time, eating of twigs.

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<v Speaker 1>So heavy weekends for you, heavy weekend.

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<v Speaker 2>Quite well, yeah, yeah, yeah, it was a bit. That's

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<v Speaker 2>probably explains what my voice sounds a little bit fractured.

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<v Speaker 1>If I can use the term that everybody says these days,

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<v Speaker 1>I love that for.

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<v Speaker 2>You, Greg, Thanks ju big recommend for a d if

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<v Speaker 2>anybody ever gets a chance to go. By the way,

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<v Speaker 2>Just before we started record, I sent you some some pictures,

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<v Speaker 2>some some artworks that I visited Wels was in Amsterdam.

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<v Speaker 1>Yes, what did you what did you think of it?

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<v Speaker 1>What is this an artist? Who is this person?

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<v Speaker 2>So like a couple of hours before I basically, of course,

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<v Speaker 2>you know you've got we've got two hours in Amsterdam

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<v Speaker 2>before we got go and get a train home. What

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<v Speaker 2>what do you do to what? What I mean, what

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<v Speaker 2>what would you do?

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<v Speaker 1>I'd rather not say.

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<v Speaker 2>It's not illegal in amsterdamn Well, I obviously went to

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<v Speaker 2>go and see Robbie Williams's debut R exhibition at the.

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<v Speaker 1>Yeah, my god.

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<v Speaker 2>But the thing is, I thought i'd send it to you,

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<v Speaker 2>and I thought you were going to say, what did

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<v Speaker 2>you think of it?

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<v Speaker 1>You quite?

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<v Speaker 2>You're going to say you quite liked it, didn't you.

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<v Speaker 1>I thought it was My opinion has been has changed

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<v Speaker 1>now now that I know who made it. Yeah, I

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<v Speaker 1>thought it was Okay, I surprised that I was telling

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<v Speaker 1>me it's Robbie Williams. Robbie Williams actually made that art. Okay,

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<v Speaker 1>we need to put a link in. Yeah, we can

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<v Speaker 1>see some of this stuff as well. Yeah, Robby Williams

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<v Speaker 1>has got two exhibitions going at the moment. One is

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<v Speaker 1>in Amsterdam, I think the other one is somewhere in Spain.

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<v Speaker 1>But it turns out that he's quite a prolific contemporary

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<v Speaker 1>artist and is like they were all from last year.

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<v Speaker 1>So you're in Amsterdam, Yeah, where there is the Van

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<v Speaker 1>Koff Museum, a world famous museum.

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<v Speaker 2>I see all of the Dutch masters. If I wanted to,

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<v Speaker 2>it was right there, but no, I chose Williams.

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<v Speaker 1>Robbie, what made you? What made you? What made you

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<v Speaker 1>do this? What did you take away? From the artwork.

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<v Speaker 2>Well, it was. It was a happy accident because I

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<v Speaker 2>went to the Museum of Contemporary Art and it just

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<v Speaker 2>happened that there was a visiting exhibition by Robbie Williams.

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<v Speaker 2>I didn't deliberately go there just to see. I wasn't like,

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<v Speaker 2>I mean, Amsterdam, I've got to go and see Robbie's work,

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<v Speaker 2>but the actual arts it so we'll, like you say,

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<v Speaker 2>we'll put a link in the show notes. But it's

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<v Speaker 2>like kind of really darkly funny because it's all about

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<v Speaker 2>his mental health. And yeah, it's possibly not what people

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<v Speaker 2>who expect. Yeah, it's good.

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<v Speaker 1>Did you enjoy it? Did you think it was?

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<v Speaker 2>Was it good? Yeah? I didn't enjoy it.

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<v Speaker 1>Yeah. And did you did you read all the blurbs

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<v Speaker 1>like about the pieces to find out what they were about?

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<v Speaker 2>The blurbs were quite short. Yeah, yeah. And then I

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<v Speaker 2>went upstairs and saw some Banksy So it was like

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<v Speaker 2>Robbie Williams was hanging next to you know, Kusamo and

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<v Speaker 2>Banksy and Basque. Wow. And you've been out and about

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<v Speaker 2>as well.

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<v Speaker 1>I have. I went to a few shows. I've been

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<v Speaker 1>at the Barbercane. This weekend, I went to see two shows.

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<v Speaker 1>Just by coincidence, they both happen to be at the

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<v Speaker 1>Barbercane here in London. Two crackers, though. I went to

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<v Speaker 1>see Nala Sinofro on Friday night, who, for those who

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<v Speaker 1>don't know, is a sort of cosmic jazz musician, plays

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<v Speaker 1>the harp but also has electronics going on. Has a

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<v Speaker 1>great band playing a lot of electronic instruments, also saxophonist, drummer.

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<v Speaker 1>That was a beautiful sort of Lets all sit in

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<v Speaker 1>the dark and just drift away. Then I was back

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<v Speaker 1>there the following afternoon for a matinee show.

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<v Speaker 2>Oh everyone loves a matinee show, right mate. Love a

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<v Speaker 2>very west end of each stud.

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<v Speaker 1>When you see Caroline Rose, they were playing with a

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<v Speaker 1>eight piece orchestra. Incredible. They cried multiple times during the

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<v Speaker 1>during it. Have you ever been to a show where

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<v Speaker 1>somebody is just the performer has broken down. It's been

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<v Speaker 1>a bit too much for them.

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<v Speaker 2>Hmmm, all right, not that I can recall. I've definitely

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<v Speaker 2>cried plenty of times at gigs and I know you

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<v Speaker 2>have you you it's a rarity for you not to cry.

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<v Speaker 1>I'm always crying at shows, especially outdoor shows. This was indoors.

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<v Speaker 1>Caroline Rose was amazing. Yeah, got got quite emotional. Great

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<v Speaker 1>you know, great crowd support, everybody on her side. Great shows.

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<v Speaker 1>So we've both had a lovely time in the last

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<v Speaker 1>few days with some live music. But whilst we've been

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<v Speaker 1>doing that, there has been other stuff going on in

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<v Speaker 1>the world of music. Obviously, my Chemical Romance played the

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<v Speaker 1>Black Parade for the first time in seventeen years. Stu,

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<v Speaker 1>I know that you were desperate to be there. Jeff Lynn,

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<v Speaker 1>obviously of Yellow, has announced the final Yellow Show because

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<v Speaker 1>he's basically brought that whole thing back like ten years ago, hasn't.

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<v Speaker 1>He has played loads of shows this past decade, but

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<v Speaker 1>it's going to be there's one more. It's going to

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<v Speaker 1>happen in London next summer at Hyde Park. There's only

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<v Speaker 1>one more chance. If you do want to go and

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<v Speaker 1>see those Elo classics being played live by jeff Lyn,

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<v Speaker 1>you've got to go to that. Did you see this

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<v Speaker 1>Joni Mitchell stuff like that happened over the weekend in

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<v Speaker 1>Los Angeles? So Joni Mitchell is eighty now right, and

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<v Speaker 1>I kind of, like, I think, like everybody else, assumed

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<v Speaker 1>that Joni Mitchell probably would never play any more shows again.

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<v Speaker 1>But she has done like a sort of sprinkling of

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<v Speaker 1>stuff the last couple of years. But the week she

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<v Speaker 1>played two shows at Hollywood Bowl in Los Angeles, seventeen

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<v Speaker 1>thousand people a night along with this sort of all

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<v Speaker 1>star cast band ranging from everyone from like Brandy to

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<v Speaker 1>Carlisle through to Marcus Mumford and Robin Packnell from Fleet

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<v Speaker 1>Foxes to play some Joni Mitchell songs that some of

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<v Speaker 1>the songs she's not played live for like thirty years.

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<v Speaker 1>Do you know how this came about? Joni Jams? Backstory

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<v Speaker 1>to this. In twenty fifteen, Jenni Mitchell suffered from an

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<v Speaker 1>anneurism that was very nearly fatal, and while she was

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<v Speaker 1>been recovering from that, she started having people round to

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<v Speaker 1>her house in bel Air as part of her recovery

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<v Speaker 1>to play music. And they were called Joni Jams. And

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<v Speaker 1>she'd have these friends and some of them very you know,

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<v Speaker 1>famous musicians in LA and from around the LA area

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<v Speaker 1>or when they were in town, had come to Jonie's

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<v Speaker 1>house and they'd play songs and it was part of

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<v Speaker 1>her rehabilitation from having this aneurysm. And then in twenty

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<v Speaker 1>twenty two, she unannounced played at the Newport Fouestival. Yeah,

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<v Speaker 1>and took some of these musicians. I actually was in

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<v Speaker 1>LA earlier this year when the Grammys were on, and

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<v Speaker 1>she performed at the Grammys with this same band that,

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<v Speaker 1>as you say, involves Jacob Collier and John Vastis is

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<v Speaker 1>in the band.

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<v Speaker 2>I thought you were going to say, when you were

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<v Speaker 2>in LA earlier this year, you went and jammed with

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<v Speaker 2>Jenny Mitchell.

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<v Speaker 1>I did. I don't think I would be getting into

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<v Speaker 1>the Joni jam. But it is incredible that she survived this,

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<v Speaker 1>you know, very severe aneurysm, and now she's back playing

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<v Speaker 1>at the Hollywood Bowl. She played for three hours. As

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<v Speaker 1>you say, she played loads and loads of deep cuts,

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<v Speaker 1>which I imagine sort of pissed off a lot of people.

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<v Speaker 1>Very Joni Mitchell moved, That, isn't it. Yeah, But yeah,

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<v Speaker 1>the people she had on was amazing. Jacob Collier's an

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<v Speaker 1>interesting one, I think because he's like, I don't know

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<v Speaker 1>what your feelings are on Jacob Collier, but he's a

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<v Speaker 1>lot of people might not know who this guy is.

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<v Speaker 1>He's a British guy. He's won six Grammys. I think

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<v Speaker 1>he could walk into most rooms and nobody would necessarily

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<v Speaker 1>recognize him, but he's he's a huge talent. He wears

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<v Speaker 1>a lot of very primary colors. He's the guy who's

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<v Speaker 1>going to be He's the guy who's going to be

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<v Speaker 1>wearing yellow crocs until he's dead. You know, like lots

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<v Speaker 1>of just primary colors. It's quite wacky. He looks a

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<v Speaker 1>bit like Jamie Cullen, but he does everything. He like produces,

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<v Speaker 1>he plays every instrument or all of these things. And

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<v Speaker 1>now he's in Joni Mitchell's band with all these other musicians.

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<v Speaker 1>Marcus Munford up there as you say, he performed California

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<v Speaker 1>with her. Yeah, what an amazing thing. If you're if

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<v Speaker 1>you're if you get welcomed into that world of a

0:11:45.760 --> 0:11:49.000
<v Speaker 1>Joni jam and now you're playing it live. I don't know,

0:11:49.080 --> 0:11:51.480
<v Speaker 1>maybe there'd be more shows, maybe there won't. Just one

0:11:51.480 --> 0:11:54.679
<v Speaker 1>thing I wanted to say about the Black Parade in

0:11:54.880 --> 0:11:58.599
<v Speaker 1>full that you mentioned that was played at a festival

0:11:58.800 --> 0:12:05.600
<v Speaker 1>called When We Were Young in Vegas. And that's a

0:12:05.600 --> 0:12:08.880
<v Speaker 1>bizarre festival, isn't it, Because that's a music festival where

0:12:09.640 --> 0:12:12.400
<v Speaker 1>every single act on the bill this year at least

0:12:13.000 --> 0:12:16.960
<v Speaker 1>played an old album in four So Mike chemic Romance,

0:12:17.280 --> 0:12:20.560
<v Speaker 1>Mike im rom they played the whole of Black Parade,

0:12:20.920 --> 0:12:23.760
<v Speaker 1>but I thought, oh, okay, yeah, but then the rest

0:12:23.800 --> 0:12:26.080
<v Speaker 1>of the stuff on there will just be bands playing

0:12:26.240 --> 0:12:28.800
<v Speaker 1>what songs they want. But the whole thing is so

0:12:29.640 --> 0:12:33.680
<v Speaker 1>shamelessly about nostalgia, which is why it's called When We

0:12:33.720 --> 0:12:35.600
<v Speaker 1>Were Young, which I love about it. They're just leaning

0:12:35.640 --> 0:12:39.360
<v Speaker 1>into it. Every artist on that bill just played a

0:12:39.400 --> 0:12:42.000
<v Speaker 1>classic album. So Nada serv played, They just played the

0:12:42.000 --> 0:12:45.200
<v Speaker 1>whole of Let's Go, Jimmy World played, and they played

0:12:45.559 --> 0:12:48.400
<v Speaker 1>Bleed American and on and on. It weren't like to

0:12:48.480 --> 0:12:52.640
<v Speaker 1>have seen that. I think it's just a it's just

0:12:52.880 --> 0:12:57.080
<v Speaker 1>a brilliantly very open way of saying, look, people want

0:12:57.120 --> 0:12:59.960
<v Speaker 1>the hits. Everyone's old. The only people that can have

0:13:00.280 --> 0:13:03.079
<v Speaker 1>to come to these shows and pay for festival gigs

0:13:03.520 --> 0:13:08.120
<v Speaker 1>are now late thirties, forties, fifties. They just want to

0:13:08.240 --> 0:13:10.920
<v Speaker 1>come on, let's just get the get the old stuff.

0:13:10.960 --> 0:13:12.880
<v Speaker 1>And it's great. I think that these bands turn up

0:13:13.200 --> 0:13:15.679
<v Speaker 1>and they just they lean into it, they go for it,

0:13:15.720 --> 0:13:19.560
<v Speaker 1>and they say, no, listen, I'm we're still a relevant band.

0:13:19.600 --> 0:13:21.560
<v Speaker 1>We want to play what we want to play. They

0:13:21.559 --> 0:13:24.760
<v Speaker 1>all just go, okay, fine, we'll just play something. There's

0:13:24.760 --> 0:13:26.520
<v Speaker 1>one in La as well as in there called Just

0:13:26.559 --> 0:13:29.920
<v Speaker 1>Like Heaven, which is also a big nostalgia trip that's

0:13:29.960 --> 0:13:33.600
<v Speaker 1>more of an indie indie vibe. But I quite like it.

0:13:33.640 --> 0:13:35.160
<v Speaker 1>Would you like to go to a festival where it's

0:13:35.240 --> 0:13:38.160
<v Speaker 1>just all all the oldies or would it make you

0:13:38.160 --> 0:13:39.400
<v Speaker 1>feel a bit sad?

0:13:40.640 --> 0:13:43.400
<v Speaker 2>I I as last week on the podcast as I

0:13:43.440 --> 0:13:45.400
<v Speaker 2>completely shame myself when we were talking about like that.

0:13:45.400 --> 0:13:47.880
<v Speaker 2>I don't know the lyrics to any famous songs, even

0:13:48.400 --> 0:13:49.360
<v Speaker 2>my favorite ones.

0:13:49.480 --> 0:13:49.920
<v Speaker 1>Yeah.

0:13:50.040 --> 0:13:55.120
<v Speaker 2>I rarely put on old music, so I don't mind. Yeah,

0:13:55.120 --> 0:13:56.480
<v Speaker 2>if I was gonna be a group of friends or something,

0:13:56.520 --> 0:13:59.320
<v Speaker 2>I'm sure it'd have like an absolutely brilliant time. But yeah,

0:13:59.440 --> 0:13:59.840
<v Speaker 2>I don't know.

0:14:01.000 --> 0:14:02.280
<v Speaker 1>You're there for the new stuff.

0:14:02.520 --> 0:14:04.920
<v Speaker 2>I'm there for the new stuff, man. Yeah. Yeah, But

0:14:04.960 --> 0:14:07.400
<v Speaker 2>there was something that happened this week that really piqued

0:14:07.400 --> 0:14:09.640
<v Speaker 2>your interest. Wasn't it a story about the Pretenders?

0:14:09.880 --> 0:14:12.720
<v Speaker 1>Yes? So this is a story that came and went

0:14:12.840 --> 0:14:17.120
<v Speaker 1>over the weekend very quickly due to the band posting

0:14:17.160 --> 0:14:20.280
<v Speaker 1>something on their socials. It got quite a lot of

0:14:20.320 --> 0:14:22.760
<v Speaker 1>stick in a very short amount of time from that fans,

0:14:23.360 --> 0:14:26.680
<v Speaker 1>and it seems like they've removed that post from that

0:14:26.800 --> 0:14:29.600
<v Speaker 1>Instagram account where it's originally posts. This was something that

0:14:29.680 --> 0:14:34.080
<v Speaker 1>Chrissy Hein put online and we'll have a few ads now,

0:14:34.160 --> 0:14:36.200
<v Speaker 1>but and we'll come back and talk about this. But

0:14:36.400 --> 0:14:40.800
<v Speaker 1>the long and short of it was that she posted

0:14:40.840 --> 0:14:44.200
<v Speaker 1>online to say to her fans who are die hard

0:14:44.240 --> 0:14:47.120
<v Speaker 1>fans who travel around and follow the band around and

0:14:47.120 --> 0:14:51.080
<v Speaker 1>are at every gig, we love you coming to the gigs,

0:14:51.520 --> 0:14:54.800
<v Speaker 1>thank you, thank you for the support, but can you

0:14:54.880 --> 0:14:57.600
<v Speaker 1>please stop standing right at the front. Can you give

0:14:57.720 --> 0:15:00.240
<v Speaker 1>local people who have not been able to tour around

0:15:00.240 --> 0:15:03.000
<v Speaker 1>the world of us or follow us as much have

0:15:03.480 --> 0:15:05.680
<v Speaker 1>their moment at their local show and stand in front

0:15:05.720 --> 0:15:09.880
<v Speaker 1>of the gig. It did not go down well. It

0:15:09.960 --> 0:15:13.360
<v Speaker 1>didn't split the crowd, Greg, it went down badly.

0:15:14.000 --> 0:15:16.160
<v Speaker 2>Let's go to some adverts and what some people have

0:15:16.280 --> 0:15:23.400
<v Speaker 2>to say about this. Welcome back to midnight Chats. As

0:15:23.480 --> 0:15:25.960
<v Speaker 2>ste was just saying there before the break, there was

0:15:26.000 --> 0:15:29.520
<v Speaker 2>this very interesting story unfolding over the past few days.

0:15:29.840 --> 0:15:34.320
<v Speaker 2>The Pretender's legendary British rock band posted something on their

0:15:34.320 --> 0:15:37.680
<v Speaker 2>social media saying basically, we're grateful to you, those diehard

0:15:37.720 --> 0:15:40.800
<v Speaker 2>fans that follow us around the world, around the country

0:15:40.840 --> 0:15:43.320
<v Speaker 2>to these different shows and show up and support us,

0:15:43.720 --> 0:15:45.880
<v Speaker 2>but can we let the locals come to the front

0:15:45.880 --> 0:15:49.040
<v Speaker 2>of the gig so that they can have their opportunity

0:15:49.080 --> 0:15:50.720
<v Speaker 2>to come to the front. And also, what I thought

0:15:50.800 --> 0:15:53.520
<v Speaker 2>was really interesting is the sort of reasoning of this

0:15:53.560 --> 0:15:56.320
<v Speaker 2>thing was basically, when we go on tour, the whole

0:15:56.320 --> 0:15:58.200
<v Speaker 2>point of it for a band is that we're playing

0:15:58.240 --> 0:16:02.040
<v Speaker 2>to a different audience every night and so. And they

0:16:02.080 --> 0:16:03.960
<v Speaker 2>also went on to say, don't be offended if we

0:16:04.040 --> 0:16:06.920
<v Speaker 2>request that you move out of the front row. This

0:16:07.040 --> 0:16:11.000
<v Speaker 2>is what keeps it new for us. There's th STU.

0:16:11.520 --> 0:16:13.560
<v Speaker 2>What did What was the response like, if you got

0:16:14.440 --> 0:16:15.880
<v Speaker 2>didn't like it went down?

0:16:15.880 --> 0:16:19.480
<v Speaker 1>Well? It did not go down. Well. This story has

0:16:19.560 --> 0:16:22.440
<v Speaker 1>introduced me to a new term that I don't know about.

0:16:22.680 --> 0:16:24.440
<v Speaker 1>Do you know that. Have you come across the term

0:16:24.520 --> 0:16:25.320
<v Speaker 1>rail riders?

0:16:25.840 --> 0:16:26.080
<v Speaker 2>No?

0:16:26.920 --> 0:16:29.000
<v Speaker 1>See, I hadn't come across this either. And I was

0:16:29.040 --> 0:16:31.800
<v Speaker 1>talking to somebody that the weekend about this story and

0:16:31.960 --> 0:16:36.120
<v Speaker 1>they use the term rail rider, and I thought that meant, oh, right,

0:16:36.160 --> 0:16:39.920
<v Speaker 1>because people are catching trains to the gigs. Is it about?

0:16:40.360 --> 0:16:43.360
<v Speaker 1>Is it a train thing? A rail rider is somebody

0:16:43.360 --> 0:16:46.760
<v Speaker 1>who's on the barrier at the gig, that's that stood

0:16:46.920 --> 0:16:49.440
<v Speaker 1>on the rail. I would always call out the barrier,

0:16:49.480 --> 0:16:51.240
<v Speaker 1>you know, the crash barrier. But yeah, the stage and

0:16:51.280 --> 0:16:55.000
<v Speaker 1>the stage and the fans. If you're someone that stands

0:16:55.000 --> 0:16:57.320
<v Speaker 1>on the rail, you're called a rail rider if you

0:16:57.360 --> 0:16:59.680
<v Speaker 1>do it repeatedly. Right, So that's a new term to me.

0:16:59.760 --> 0:17:02.520
<v Speaker 1>I'm glad it's new to you, because I felt foolish

0:17:02.920 --> 0:17:07.639
<v Speaker 1>for thinking it was about trains. People didn't like this

0:17:08.200 --> 0:17:14.440
<v Speaker 1>at all. The fans underneath that post went into it.

0:17:14.560 --> 0:17:18.680
<v Speaker 1>I mean that they were typically all around this. I'll

0:17:18.720 --> 0:17:21.919
<v Speaker 1>read one, I'll read a couple, but this is the

0:17:21.960 --> 0:17:25.359
<v Speaker 1>tone of all of them. Essentially, this is so disrespectful

0:17:25.400 --> 0:17:28.640
<v Speaker 1>to faithful fans, as you're basically telling them they bore

0:17:28.720 --> 0:17:31.800
<v Speaker 1>you seeing them so often, even though you wouldn't have

0:17:31.840 --> 0:17:34.080
<v Speaker 1>a crowd to perform in front of if it wasn't

0:17:34.119 --> 0:17:39.280
<v Speaker 1>for them. This is horrendous. That's what somebody said. Somebody

0:17:39.280 --> 0:17:43.520
<v Speaker 1>who's maybe not a fan but have sympathized with the

0:17:43.560 --> 0:17:46.600
<v Speaker 1>fans have said, quote, please don't be offended if we

0:17:46.800 --> 0:17:50.600
<v Speaker 1>request you moved out of the front row. Imagine security

0:17:50.680 --> 0:17:53.560
<v Speaker 1>coming up to you and being like your favorite artist

0:17:53.600 --> 0:17:55.720
<v Speaker 1>doesn't want you to look at your face and please

0:17:55.760 --> 0:17:56.800
<v Speaker 1>fuck off to the back.

0:18:00.040 --> 0:18:02.919
<v Speaker 2>Oh man, Okay, so if we're try and look at

0:18:02.920 --> 0:18:06.119
<v Speaker 2>this from like the bandview and the fanview and just

0:18:06.119 --> 0:18:09.679
<v Speaker 2>sort of have a think about that, the band is saying, like,

0:18:09.880 --> 0:18:12.840
<v Speaker 2>the whole reason we go on tour is so that

0:18:13.400 --> 0:18:15.399
<v Speaker 2>because every night is different, we get to play to

0:18:15.440 --> 0:18:19.520
<v Speaker 2>different people, Like, that's the reason. They they say, that's

0:18:19.560 --> 0:18:23.520
<v Speaker 2>the reason we do it. So you can't argue that's

0:18:23.600 --> 0:18:25.480
<v Speaker 2>that's that's the way they feel, So you can't really

0:18:25.560 --> 0:18:27.440
<v Speaker 2>argue with that. They say that's their motivation for getting

0:18:27.440 --> 0:18:29.480
<v Speaker 2>out on the road and still playing shows forty five

0:18:29.600 --> 0:18:31.800
<v Speaker 2>years into their career is because they get to see

0:18:32.000 --> 0:18:35.480
<v Speaker 2>different faces, different vibe in the venue every night, different

0:18:35.480 --> 0:18:38.600
<v Speaker 2>people singing the words back to them, etc. So there's that.

0:18:38.680 --> 0:18:41.840
<v Speaker 2>So is that that's valid? Do you think?

0:18:42.160 --> 0:18:42.240
<v Speaker 3>Like?

0:18:42.320 --> 0:18:44.680
<v Speaker 1>I think that's I mean, I think it probably would

0:18:44.720 --> 0:18:49.439
<v Speaker 1>be quite strange to be a band. At every stage

0:18:49.480 --> 0:18:52.600
<v Speaker 1>you walk on too in a different town, they are

0:18:52.640 --> 0:18:55.600
<v Speaker 1>the same faces looking back at you. Hmmm. I think

0:18:55.600 --> 0:18:58.040
<v Speaker 1>that would just be quite strange. Like, in some ways,

0:18:58.040 --> 0:19:00.440
<v Speaker 1>I'm sure it would be lovely because there would be

0:19:00.880 --> 0:19:04.880
<v Speaker 1>you'd be like, oh, there's John and there's Sally, Hi, guys.

0:19:05.400 --> 0:19:07.600
<v Speaker 1>But at the same time, it'd be like, oh, there's

0:19:07.680 --> 0:19:11.240
<v Speaker 1>John and Sally again. Yeah, like I understand it from

0:19:11.240 --> 0:19:14.240
<v Speaker 1>that point of view, but I do understand the fans

0:19:14.320 --> 0:19:16.760
<v Speaker 1>a lot of the people. Was another thing that people

0:19:16.800 --> 0:19:21.200
<v Speaker 1>said in the comments was if the local fans, if

0:19:21.200 --> 0:19:25.520
<v Speaker 1>you're fans, it's it's it's basically first come, first serve.

0:19:25.680 --> 0:19:25.880
<v Speaker 3>Yeah.

0:19:25.920 --> 0:19:28.440
<v Speaker 1>If they can queue up just as early and come

0:19:28.520 --> 0:19:30.520
<v Speaker 1>and run to the front, they can camp overnight if

0:19:30.560 --> 0:19:34.399
<v Speaker 1>they want to, like I have. Obviously it is different

0:19:34.400 --> 0:19:37.159
<v Speaker 1>for different people. Some people can't necessarily do that, but essentially,

0:19:37.760 --> 0:19:40.560
<v Speaker 1>in terms of fairness, if you've bought a standing ticket,

0:19:40.960 --> 0:19:44.320
<v Speaker 1>the earlier EUQ, the furthest forward you can get and

0:19:44.440 --> 0:19:47.200
<v Speaker 1>that's the that's the game, isn't it. And I also

0:19:47.280 --> 0:19:52.040
<v Speaker 1>understand them being like, fuck you man, I've flown from

0:19:53.160 --> 0:19:57.280
<v Speaker 1>Turkey to London say to see you because I love

0:19:57.320 --> 0:19:59.480
<v Speaker 1>you so much, and now you're saying I can't stand

0:19:59.480 --> 0:20:01.760
<v Speaker 1>at the front, Like it's a bit of a kick

0:20:01.760 --> 0:20:02.680
<v Speaker 1>in the face, isn't it?

0:20:03.680 --> 0:20:07.200
<v Speaker 2>Okay? So is there any way So if we're saying

0:20:07.240 --> 0:20:10.760
<v Speaker 2>like the pretender's feelings on this are valid, we're saying

0:20:10.800 --> 0:20:13.320
<v Speaker 2>like we get it, when the fans might be like,

0:20:13.359 --> 0:20:17.439
<v Speaker 2>hang on, that doesn't seem right. Is there is it?

0:20:17.560 --> 0:20:19.320
<v Speaker 2>Was it? Just? Is it a simple case that like

0:20:19.920 --> 0:20:22.560
<v Speaker 2>the way that they said this was wrong? Is there

0:20:22.600 --> 0:20:25.160
<v Speaker 2>a way of doing it? Because I'm I'm not sure

0:20:25.200 --> 0:20:27.480
<v Speaker 2>because that the way they did it was quite softly,

0:20:27.520 --> 0:20:30.280
<v Speaker 2>softly of saying please please don't like we really appreciate you,

0:20:30.359 --> 0:20:32.360
<v Speaker 2>Please don't be offended if we do, ask like if

0:20:32.480 --> 0:20:34.240
<v Speaker 2>other people can come to the front of the show

0:20:34.280 --> 0:20:37.760
<v Speaker 2>to you know, so that we can see them. I don't.

0:20:37.840 --> 0:20:40.479
<v Speaker 2>I can't think of a way putting that across. Oh,

0:20:40.520 --> 0:20:44.800
<v Speaker 2>you can't communicating that that doesn't somehow offend somebody.

0:20:45.320 --> 0:20:47.440
<v Speaker 1>And I think that's probably why they've taken it down.

0:20:47.480 --> 0:20:49.480
<v Speaker 1>I think they thought, Okay.

0:20:49.280 --> 0:20:51.080
<v Speaker 2>We tried and it was snowballing, wasn't it.

0:20:51.359 --> 0:20:53.919
<v Speaker 1>Yeah, And they just thought we, you know, we tried,

0:20:54.119 --> 0:20:56.920
<v Speaker 1>We've put a point across. It's not gone down. Well,

0:20:57.119 --> 0:20:59.720
<v Speaker 1>we're not going to change their minds. Let's not upset

0:20:59.760 --> 0:21:02.879
<v Speaker 1>people over it. We should just sort of backtrack a

0:21:02.920 --> 0:21:05.440
<v Speaker 1>little bit and just bury it and hope it goes away.

0:21:05.720 --> 0:21:08.959
<v Speaker 1>Have you ever been a rail rider. I've never been

0:21:08.960 --> 0:21:09.679
<v Speaker 1>a rail rider.

0:21:09.960 --> 0:21:13.920
<v Speaker 2>I've never like sure, i've seen artists play like I've

0:21:13.920 --> 0:21:17.360
<v Speaker 2>been to see certain artists play multiple times, but I've

0:21:17.440 --> 0:21:20.720
<v Speaker 2>never followed an artist around on tour, Like, I've never

0:21:20.760 --> 0:21:23.880
<v Speaker 2>gone from one show to another to another anything like that,

0:21:24.960 --> 0:21:26.159
<v Speaker 2>have you no?

0:21:26.560 --> 0:21:32.199
<v Speaker 1>And when I saw this story, like my gut reaction

0:21:32.440 --> 0:21:35.880
<v Speaker 1>was to defend the band, right, And that's only because

0:21:36.440 --> 0:21:40.359
<v Speaker 1>I'm not someone that has followed a band around. To me,

0:21:40.960 --> 0:21:43.960
<v Speaker 1>that doesn't appeal to me because I actually go the

0:21:44.000 --> 0:21:45.320
<v Speaker 1>other way. And when I see a band that I

0:21:45.359 --> 0:21:47.720
<v Speaker 1>really love, and especially if I see them be brilliant,

0:21:48.080 --> 0:21:49.960
<v Speaker 1>I don't really want to see them that much again

0:21:50.119 --> 0:21:54.640
<v Speaker 1>because I just think, let's just leave that as perfect.

0:21:54.680 --> 0:21:58.879
<v Speaker 1>But I do understand the appeal of it from fans

0:21:59.000 --> 0:22:03.439
<v Speaker 1>who have a real community group. I'm too miserable to

0:22:03.480 --> 0:22:05.080
<v Speaker 1>be a rail rider because you have to be friends

0:22:05.119 --> 0:22:08.000
<v Speaker 1>with the other fans. But that's whole part. That's part

0:22:08.040 --> 0:22:09.760
<v Speaker 1>of it. You go to the show and you're and

0:22:10.320 --> 0:22:12.439
<v Speaker 1>you see the next person on the next stop and

0:22:12.480 --> 0:22:14.040
<v Speaker 1>you say, oh, did you did you catch last year?

0:22:14.040 --> 0:22:16.040
<v Speaker 1>What do you think of last week's show? And it's

0:22:16.119 --> 0:22:20.680
<v Speaker 1>all part of extreme fandom, And so I can see

0:22:20.720 --> 0:22:23.359
<v Speaker 1>why they feel hurt by it by it, because you know,

0:22:23.400 --> 0:22:25.240
<v Speaker 1>it's a huge, huge part of their lives. But I've

0:22:25.280 --> 0:22:27.720
<v Speaker 1>never done it myself. I've been at the front. I

0:22:27.760 --> 0:22:29.840
<v Speaker 1>have been on the rail. As I now know it's

0:22:29.880 --> 0:22:33.520
<v Speaker 1>called the barrier, I would call it for shows, you know.

0:22:34.760 --> 0:22:39.520
<v Speaker 1>But I do also imagine that it's quite you know,

0:22:39.560 --> 0:22:42.399
<v Speaker 1>when you're at the front a gig, it does get

0:22:42.960 --> 0:22:44.840
<v Speaker 1>there is a good community spirit down the front of

0:22:44.880 --> 0:22:48.280
<v Speaker 1>a show, but it is also quite competitive, and I

0:22:48.320 --> 0:22:50.560
<v Speaker 1>wonder if that's what the band are getting at as well.

0:22:50.640 --> 0:22:53.879
<v Speaker 1>It's like we you know, we love you all, but

0:22:54.440 --> 0:22:57.119
<v Speaker 1>to them, there's no such thing as somebody liking the

0:22:57.160 --> 0:22:59.239
<v Speaker 1>band more than anybody else, you know, just because you've

0:22:59.280 --> 0:23:01.280
<v Speaker 1>seen the band of th times on every stop of

0:23:01.320 --> 0:23:03.879
<v Speaker 1>the tour. If there's one person that's only just been

0:23:03.920 --> 0:23:06.440
<v Speaker 1>able to see the band for the first time, then

0:23:06.720 --> 0:23:08.679
<v Speaker 1>they are just as much a fan, you know, or

0:23:08.680 --> 0:23:10.520
<v Speaker 1>they can be just as much a fan as you are.

0:23:10.680 --> 0:23:13.560
<v Speaker 2>Yeah, And this sort of seems to have come this year.

0:23:13.680 --> 0:23:17.439
<v Speaker 2>The conversation around like boundaries for artists and fans and

0:23:17.480 --> 0:23:19.480
<v Speaker 2>like toxic fandom and all these things that we've heard

0:23:19.520 --> 0:23:21.680
<v Speaker 2>lots about seems to have risen right to the top.

0:23:21.720 --> 0:23:24.240
<v Speaker 2>Hasn't it, like you've had chapel rowan sort of pulling

0:23:24.320 --> 0:23:26.960
<v Speaker 2>out of gigs, saying that, like, she needs to protect

0:23:27.000 --> 0:23:30.119
<v Speaker 2>her mental health because things have just been on total overload,

0:23:30.280 --> 0:23:34.400
<v Speaker 2>and she's you know, been really quite vocal about how

0:23:35.080 --> 0:23:37.360
<v Speaker 2>she wants to be able to sort of preserve her

0:23:37.560 --> 0:23:42.400
<v Speaker 2>mental health and her sanity by just having certain boundaries

0:23:43.200 --> 0:23:48.560
<v Speaker 2>with her fans. You know. Understandably, you have people saying like, oh, well,

0:23:48.640 --> 0:23:51.199
<v Speaker 2>they're ungrateful or they're not kind of like responding to

0:23:51.280 --> 0:23:54.360
<v Speaker 2>us in a respectful manner, and you've got other supporters

0:23:54.400 --> 0:23:57.879
<v Speaker 2>saying like, well, you know, it's totally fine, Like you

0:23:57.960 --> 0:23:59.359
<v Speaker 2>might be a pop star and you might make a

0:23:59.400 --> 0:24:03.640
<v Speaker 2>living out of affectively talking about your life, writing, you know,

0:24:03.920 --> 0:24:07.560
<v Speaker 2>making art about your most kind of personal elements of

0:24:07.600 --> 0:24:11.720
<v Speaker 2>who you are. But it's still it's still neat. People

0:24:11.800 --> 0:24:14.280
<v Speaker 2>still need boundaries still. People are still human beings, right,

0:24:15.080 --> 0:24:18.800
<v Speaker 2>and so this conversation just seems to keep growing and growing.

0:24:18.840 --> 0:24:21.480
<v Speaker 1>I think yeah, and I think, you know, obviously this

0:24:21.640 --> 0:24:27.159
<v Speaker 1>is a very obvious thing to say. Clackson Alert. Social

0:24:27.160 --> 0:24:29.520
<v Speaker 1>media is obviously just accelerated, or wasn't it, because people

0:24:29.640 --> 0:24:32.680
<v Speaker 1>feel that they are they know the band, they're connected

0:24:32.720 --> 0:24:34.520
<v Speaker 1>to the band. We did a cover feature for the

0:24:34.560 --> 0:24:37.199
<v Speaker 1>magazine last year with Boy Genius, and they have some

0:24:37.320 --> 0:24:40.119
<v Speaker 1>extremely hardcore fans, and they spoke in that interview that

0:24:40.160 --> 0:24:44.399
<v Speaker 1>we did with them about how sort of dicey it

0:24:44.440 --> 0:24:47.800
<v Speaker 1>can get and that it's not always lovely to get

0:24:47.840 --> 0:24:49.879
<v Speaker 1>back to your hotel and there's a group of people

0:24:49.960 --> 0:24:53.000
<v Speaker 1>there who know you, who have tracked you down, who

0:24:53.080 --> 0:24:56.719
<v Speaker 1>know where you're staying, have found out that information, and

0:24:56.720 --> 0:24:58.720
<v Speaker 1>suddenly they're like, I'm not sure I feel safe. And

0:24:58.760 --> 0:25:00.239
<v Speaker 1>they were saying, you know that fans will be, oh,

0:25:00.280 --> 0:25:04.120
<v Speaker 1>it's okay, you're safe because we protect you, and they're like, well,

0:25:04.160 --> 0:25:06.000
<v Speaker 1>but are we safe from you? You know, we don't

0:25:06.000 --> 0:25:08.000
<v Speaker 1>know who you are. You are strangers, we don't know

0:25:08.119 --> 0:25:12.760
<v Speaker 1>each other. And in was it last year when Doja

0:25:12.800 --> 0:25:18.320
<v Speaker 1>Cat really upset her audience because she's extremely outspoken, And

0:25:18.400 --> 0:25:21.600
<v Speaker 1>when I saw this thing from the Pretenders, I started

0:25:21.640 --> 0:25:24.040
<v Speaker 1>to think of other musicians that have really upset their

0:25:24.080 --> 0:25:27.640
<v Speaker 1>fans and Doja Cat did, I think last year when

0:25:27.720 --> 0:25:31.800
<v Speaker 1>she sort of slagged off very openly her fans who

0:25:31.840 --> 0:25:35.280
<v Speaker 1>started calling themselves as a group the kittens. Right, she's

0:25:35.359 --> 0:25:38.080
<v Speaker 1>Doja Cat, We're going to be the kittens. And sometimes

0:25:38.119 --> 0:25:40.679
<v Speaker 1>it was spelt with zed and sometimes it was not

0:25:40.760 --> 0:25:44.280
<v Speaker 1>with his ZA, and she put on threads at the time,

0:25:44.720 --> 0:25:48.080
<v Speaker 1>if you call yourself a kitten or fucking kittens with

0:25:48.200 --> 0:25:51.000
<v Speaker 1>a ZED, that means you need to get off your

0:25:51.040 --> 0:25:54.119
<v Speaker 1>phone and get a job and help your parents with

0:25:54.200 --> 0:25:59.360
<v Speaker 1>the house. She then went on to say when a

0:25:59.359 --> 0:26:02.040
<v Speaker 1>fan and came back and said, yeah, but you do

0:26:02.119 --> 0:26:04.159
<v Speaker 1>love us, so don't you. We're your fans, you do

0:26:04.240 --> 0:26:08.359
<v Speaker 1>love us, And she said I don't because I don't

0:26:08.359 --> 0:26:12.080
<v Speaker 1>even know y'all. Then she called them all creepy as fuck.

0:26:12.480 --> 0:26:19.960
<v Speaker 1>Now it's one way to go. She lost nearly two

0:26:20.040 --> 0:26:25.480
<v Speaker 1>hundred thousand fans on followers on Instagram doing that. The

0:26:25.480 --> 0:26:28.120
<v Speaker 1>pretenders haven't gone that far. They've just put up this thing,

0:26:28.600 --> 0:26:33.160
<v Speaker 1>and they've noticed key, they've noticed when, okay, this could

0:26:33.240 --> 0:26:36.679
<v Speaker 1>go badly for us, and let's take it down. Talking

0:26:36.720 --> 0:26:40.919
<v Speaker 1>of those hardcore kittens with Z or without a Z.

0:26:42.000 --> 0:26:45.439
<v Speaker 1>Can I test you on some of the other groups then,

0:26:45.840 --> 0:26:48.919
<v Speaker 1>like the fan groups what they call groups? Yeah, what

0:26:48.920 --> 0:26:51.840
<v Speaker 1>they're called? And then so for example, Taylor Swift has

0:26:51.840 --> 0:26:55.760
<v Speaker 1>the Swifties. Yes, okay, so I'll give you the artist's

0:26:55.840 --> 0:26:59.000
<v Speaker 1>name and you give me the group name. I think

0:26:59.119 --> 0:27:02.879
<v Speaker 1>I think you're going to be good at this. Go on,

0:27:03.560 --> 0:27:06.719
<v Speaker 1>you can redeem yourself from last week. What are Harry

0:27:06.760 --> 0:27:15.159
<v Speaker 1>Styles fans called? Oh the harassers, that would be brilliant. No,

0:27:15.320 --> 0:27:18.240
<v Speaker 1>it's not the harassers. It's just the Harries. It's really really,

0:27:19.200 --> 0:27:22.960
<v Speaker 1>really really rubbish, isn't it. What about Charlie XX think

0:27:23.040 --> 0:27:27.720
<v Speaker 1>logically she's the Brats. No, No, that's too new, isn't it.

0:27:28.080 --> 0:27:31.639
<v Speaker 1>This is like from years ago, Charlie. It could be

0:27:31.680 --> 0:27:36.200
<v Speaker 1>the brats now the angels Charlie's angels of course. Yeah,

0:27:36.240 --> 0:27:38.159
<v Speaker 1>you get it.

0:27:38.280 --> 0:27:39.920
<v Speaker 2>No, I get it. I'm just not very good at it.

0:27:42.800 --> 0:27:46.639
<v Speaker 2>Lady Gaga, Oh little monsters. Yeah, you're a little monster,

0:27:47.119 --> 0:27:49.320
<v Speaker 2>a little monster from the start. I have you've got

0:27:49.320 --> 0:27:49.880
<v Speaker 2>the tattoo?

0:27:50.280 --> 0:27:50.480
<v Speaker 3>Yeah?

0:27:50.840 --> 0:27:51.840
<v Speaker 1>What about Lizzo?

0:27:53.040 --> 0:27:53.879
<v Speaker 2>Oh I do know?

0:27:54.600 --> 0:27:57.320
<v Speaker 1>Is brilliant? The Lisbians?

0:27:57.880 --> 0:28:02.240
<v Speaker 2>Well they're called Lisbians. Yeah it's so good. That's good,

0:28:02.320 --> 0:28:03.920
<v Speaker 2>isn't it. That's really good.

0:28:04.600 --> 0:28:09.280
<v Speaker 1>Ed Sheerans is the cherios Cheerios? Yeah?

0:28:10.080 --> 0:28:11.760
<v Speaker 2>Noah, not having that super nav.

0:28:12.880 --> 0:28:15.199
<v Speaker 1>And there's another one that you will definitely know that

0:28:15.400 --> 0:28:17.359
<v Speaker 1>if you were a fan of the Twilight soccer as

0:28:17.359 --> 0:28:19.960
<v Speaker 1>I know you were, you were a twy hard.

0:28:20.320 --> 0:28:23.680
<v Speaker 2>Oh yeah, they were twenty highs, weren't they so, given

0:28:23.720 --> 0:28:27.520
<v Speaker 2>that you were about to launch your pop career. Let's

0:28:27.600 --> 0:28:30.359
<v Speaker 2>just fast forward to the end of twenty twenty five

0:28:30.880 --> 0:28:33.880
<v Speaker 2>and you are playing stadiums. What are your what's your

0:28:33.920 --> 0:28:38.200
<v Speaker 2>fan base called your Stuart Stubbs international pop star the.

0:28:38.120 --> 0:28:48.320
<v Speaker 4>Stubbers, the Stubbers, the Stubbers, Stubbers, the Stubbers, the Stubbers.

0:28:48.280 --> 0:28:50.120
<v Speaker 1>There was there was a boy I went to school

0:28:50.120 --> 0:28:54.280
<v Speaker 1>with called Tarrent Hodson real name, and the bus going

0:28:54.320 --> 0:28:55.840
<v Speaker 1>to and from school, on the back of some of

0:28:55.880 --> 0:28:59.440
<v Speaker 1>the seats would be a cigarette stubber because it was

0:28:59.720 --> 0:29:02.880
<v Speaker 1>the nineties and it said Stubbor on it, and when

0:29:02.880 --> 0:29:06.760
<v Speaker 1>he saw it said that he would just shower. Stop

0:29:06.800 --> 0:29:15.680
<v Speaker 1>a stop. Its triggering, It's quite triggering talking about.

0:29:15.440 --> 0:29:20.640
<v Speaker 2>This, okay, talking about barriers. Yeah, listen, stew I've got

0:29:20.680 --> 0:29:22.480
<v Speaker 2>a hell of a I've got a hell of a

0:29:22.560 --> 0:29:25.120
<v Speaker 2>top three for you this week. Really excited to spring

0:29:25.200 --> 0:29:26.640
<v Speaker 2>this and.

0:29:26.800 --> 0:29:28.720
<v Speaker 1>It's going to be some revenge coming down.

0:29:29.520 --> 0:29:32.720
<v Speaker 2>I think so. I think so. And we also before

0:29:32.720 --> 0:29:33.880
<v Speaker 2>we go tonight, we're going to leave you with some

0:29:33.880 --> 0:29:37.959
<v Speaker 2>recommendations with our Beat the Algorithm regular and we're going

0:29:38.000 --> 0:29:39.720
<v Speaker 2>to give you our hot tips of what you should

0:29:39.720 --> 0:29:44.720
<v Speaker 2>be listening to. But first let's get these adverts.

0:29:47.040 --> 0:29:49.920
<v Speaker 1>Welcome back to all of Midnight Chats. Were Wolves.

0:29:53.440 --> 0:29:54.760
<v Speaker 2>All are were wolves out there?

0:29:56.040 --> 0:29:59.320
<v Speaker 1>Like that? That's that's our name, that's our fans names

0:30:00.240 --> 0:30:03.080
<v Speaker 1>the were wolves. Well you like it? I do like it?

0:30:03.200 --> 0:30:05.640
<v Speaker 2>Yeah? Whatever kind of do you want to.

0:30:05.600 --> 0:30:08.240
<v Speaker 1>Give us a quick quick were wolf cry?

0:30:08.560 --> 0:30:14.680
<v Speaker 3>Oh yeah, we are at Midnight Chats Pod on Instagram

0:30:14.720 --> 0:30:16.480
<v Speaker 3>if you want to film yourself and send us you

0:30:16.600 --> 0:30:19.720
<v Speaker 3>do an impression of a were wolves and we'll.

0:30:19.520 --> 0:30:22.800
<v Speaker 2>Play them on next week's podcast. Oh thanks for all

0:30:22.800 --> 0:30:26.120
<v Speaker 2>of our were wolves tell you what? Yeah? Though, can

0:30:26.160 --> 0:30:28.920
<v Speaker 2>we just say from the outset, like Stuart and I

0:30:28.960 --> 0:30:31.640
<v Speaker 2>have very respectful boundaries, So whilst we appreciate all of

0:30:31.640 --> 0:30:34.640
<v Speaker 2>your you don't have any boundaries.

0:30:34.920 --> 0:30:37.360
<v Speaker 1>Now. I would love to go back to a hotel

0:30:37.400 --> 0:30:39.440
<v Speaker 1>and have a group of fans there telling me that

0:30:39.520 --> 0:30:40.440
<v Speaker 1>I'm safe.

0:30:44.640 --> 0:30:50.960
<v Speaker 2>Nothing would give me more anxiety. Now, listen, last week

0:30:51.280 --> 0:30:53.000
<v Speaker 2>we did our top three. We do it every week

0:30:53.000 --> 0:30:57.560
<v Speaker 2>on Midnight Chats and quite frankly, I had an absolute shocker.

0:30:58.720 --> 0:31:00.880
<v Speaker 2>You can go and see the clip on Midnight Chats

0:31:00.920 --> 0:31:04.080
<v Speaker 2>Pod at Midnight Chats Pod on social media if you

0:31:04.160 --> 0:31:07.840
<v Speaker 2>want to relive that complete disaster, which means that it's

0:31:07.920 --> 0:31:10.360
<v Speaker 2>your turn this week, Stu. I've got a top three

0:31:10.480 --> 0:31:13.040
<v Speaker 2>for you. Given that we've been talking about live music,

0:31:13.080 --> 0:31:17.720
<v Speaker 2>everything's been sort of live music orientated. Tonight on the podcast,

0:31:17.800 --> 0:31:20.240
<v Speaker 2>I've got a real I've got a live music classic

0:31:20.320 --> 0:31:24.640
<v Speaker 2>for you. So Stu, your top three tonight. I would

0:31:24.680 --> 0:31:30.560
<v Speaker 2>like to know the top three legendary stroke classic gigs

0:31:30.680 --> 0:31:33.800
<v Speaker 2>that you wish that you were at across the course

0:31:33.840 --> 0:31:37.640
<v Speaker 2>of music history. So maybe that was Woodstock in nineteen

0:31:37.720 --> 0:31:39.640
<v Speaker 2>sixty nine, could have been led Zeppelin at the O

0:31:39.800 --> 0:31:42.239
<v Speaker 2>two when they reformed, could have been Limp Biscuit at

0:31:42.280 --> 0:31:45.640
<v Speaker 2>the Leeds Cockpit. It's up to you. I want to

0:31:45.680 --> 0:31:50.320
<v Speaker 2>know the top three classic legendary gigs that you wish

0:31:50.440 --> 0:31:51.360
<v Speaker 2>that you were at.

0:31:51.680 --> 0:31:53.200
<v Speaker 1>Okay, i think I've got them.

0:31:53.600 --> 0:31:57.520
<v Speaker 2>Boom go On, hit Me number one.

0:31:56.840 --> 0:32:03.600
<v Speaker 1>Bowie at the Amaswift, Apollo retiring, Ziggy star Dust when

0:32:03.600 --> 0:32:07.360
<v Speaker 1>everybody thought that when he said this is it, we're done,

0:32:07.480 --> 0:32:09.719
<v Speaker 1>and everyone thought he was retiring, but he was just retiring.

0:32:09.720 --> 0:32:12.239
<v Speaker 1>The character to have been there would have just been good.

0:32:12.280 --> 0:32:16.440
<v Speaker 1>When that's a great dinner anecdote. Yeah, I'm not sure

0:32:16.440 --> 0:32:18.040
<v Speaker 1>how good to show was I imagine it was great,

0:32:18.080 --> 0:32:20.520
<v Speaker 1>but like it's more about the historic moment. I would

0:32:20.600 --> 0:32:24.120
<v Speaker 1>also love to have been at the Monterey Jazz and

0:32:24.160 --> 0:32:29.400
<v Speaker 1>Pop Festival in sixty seven. Was it when Hendrix sets

0:32:29.400 --> 0:32:32.920
<v Speaker 1>fire to the guitar? Yeah, with the light of fluid,

0:32:33.480 --> 0:32:36.080
<v Speaker 1>Because also to have seen Jimmy Hendrix's life would have

0:32:36.160 --> 0:32:41.920
<v Speaker 1>just been incredible. And well, I did get to see

0:32:41.920 --> 0:32:47.440
<v Speaker 1>the Rakes, so I won't say that. And one more,

0:32:49.400 --> 0:32:52.959
<v Speaker 1>I had it in my head and I've got lost

0:32:53.560 --> 0:33:04.680
<v Speaker 1>making a Rakes joke. Foolish. I would have loved I

0:33:04.720 --> 0:33:08.080
<v Speaker 1>would have really loved I've seen him, and it's not

0:33:08.080 --> 0:33:11.280
<v Speaker 1>necessarily legend. I would have loved to have been at

0:33:11.320 --> 0:33:14.760
<v Speaker 1>Glastonbury when Jay Z headlined it because I feel it

0:33:14.800 --> 0:33:17.600
<v Speaker 1>was a turning point for the festival. And I watched

0:33:17.600 --> 0:33:20.200
<v Speaker 1>it on TV and I thought it was incredible and

0:33:20.240 --> 0:33:22.200
<v Speaker 1>the fact that everyone was talking about him having loads

0:33:22.200 --> 0:33:25.200
<v Speaker 1>of guests out and he didn't have anyone out, like

0:33:25.280 --> 0:33:30.000
<v Speaker 1>you know, it was just him and all the samples

0:33:30.040 --> 0:33:34.040
<v Speaker 1>he did, you know, like sampling Sunday, Bloody Sunday by

0:33:34.600 --> 0:33:37.880
<v Speaker 1>you two. All of that stuff I just thought was

0:33:37.880 --> 0:33:41.280
<v Speaker 1>so expertly done. And I was on a huge jay

0:33:41.360 --> 0:33:44.320
<v Speaker 1>Z tip back then at that point, So it would

0:33:44.360 --> 0:33:46.959
<v Speaker 1>be that I was going to go with Nirvana at

0:33:47.000 --> 0:33:50.160
<v Speaker 1>reading because I liked it when I've seen I watched

0:33:50.200 --> 0:33:52.280
<v Speaker 1>that footage of Kirk had been running into the jump

0:33:52.360 --> 0:33:55.440
<v Speaker 1>drum kit all the time, and I would love to

0:33:55.480 --> 0:33:59.400
<v Speaker 1>have seen that. But the other two are so guitari

0:33:59.600 --> 0:34:03.240
<v Speaker 1>I feel like need to like, yeah, I'm going for that.

0:34:03.240 --> 0:34:04.800
<v Speaker 2>That is a hell of a top three. I met

0:34:04.800 --> 0:34:07.080
<v Speaker 2>somebody the other day who was at that reading and

0:34:07.120 --> 0:34:09.799
<v Speaker 2>didn't and chose actively chose not to go and watch

0:34:09.840 --> 0:34:11.360
<v Speaker 2>the banner, and I think went to go and watch

0:34:11.400 --> 0:34:13.640
<v Speaker 2>somebody like the Charlatan's headline.

0:34:13.239 --> 0:34:13.440
<v Speaker 3>Like the.

0:34:16.480 --> 0:34:20.000
<v Speaker 1>Wow did they regret it? Did they think? So?

0:34:20.160 --> 0:34:20.359
<v Speaker 2>Yeah?

0:34:20.480 --> 0:34:22.319
<v Speaker 1>Did they? How foolish is this?

0:34:22.600 --> 0:34:25.080
<v Speaker 2>Yeah? This maybe this is maybe this is for another time,

0:34:25.120 --> 0:34:27.080
<v Speaker 2>but like our near maybe we should do our like

0:34:27.160 --> 0:34:31.360
<v Speaker 2>near missus. Like when Blur got back together the first

0:34:31.400 --> 0:34:33.680
<v Speaker 2>time and when they headlined Glastermy that was very emotional.

0:34:33.719 --> 0:34:35.800
<v Speaker 2>You remember Damon was like kind of he was pretty

0:34:35.840 --> 0:34:38.799
<v Speaker 2>much crying on stage. I was working at that point

0:34:38.840 --> 0:34:41.560
<v Speaker 2>and I drew quite literally drew the short straw because

0:34:41.560 --> 0:34:44.640
<v Speaker 2>we did sort of was reporting was amongst a group

0:34:44.640 --> 0:34:47.439
<v Speaker 2>of people reporting on that year's festival, and we said,

0:34:47.480 --> 0:34:49.760
<v Speaker 2>somebody's got to go and watch Black Eyed Ps headline

0:34:49.760 --> 0:34:52.680
<v Speaker 2>the Jazz World stage. And guess who. Guess who went

0:34:52.719 --> 0:34:56.239
<v Speaker 2>to watch that instead of watching Blur and I watched

0:34:56.239 --> 0:35:00.560
<v Speaker 2>Will I Am come out and go hey London, every boo.

0:35:02.960 --> 0:35:05.680
<v Speaker 1>I'm surprised there were people there to go boo. I'm

0:35:05.680 --> 0:35:06.439
<v Speaker 1>surprised there were.

0:35:06.360 --> 0:35:08.239
<v Speaker 2>There were people there going boo. Yeah. I mean that's

0:35:08.239 --> 0:35:09.719
<v Speaker 2>just the size of Glaston Berson and I think that

0:35:09.760 --> 0:35:12.040
<v Speaker 2>everybody just gets so lost and high that they're not

0:35:12.080 --> 0:35:14.279
<v Speaker 2>even necessarily shut. They're just like, hey, I'm watching Black

0:35:14.280 --> 0:35:19.919
<v Speaker 2>Eyed Peace but yeah, never mind, but yeah, good good.

0:35:19.920 --> 0:35:22.080
<v Speaker 2>Top three, there's shall we beat the algorithm?

0:35:22.200 --> 0:35:25.640
<v Speaker 1>Let's beat the algorithm.

0:35:25.960 --> 0:35:31.840
<v Speaker 2>Beat the algorithm, beat the algorm. So this is the

0:35:31.880 --> 0:35:34.080
<v Speaker 2>point in the podcast where we want to be useful.

0:35:34.120 --> 0:35:36.080
<v Speaker 2>Stu and I were thinking, let's just stop, let's give

0:35:36.120 --> 0:35:39.480
<v Speaker 2>some let's give the people something to take away with them.

0:35:39.680 --> 0:35:42.000
<v Speaker 2>And so we've got a recommendation, something that we're listening

0:35:42.000 --> 0:35:44.120
<v Speaker 2>to at the moment that we think that you might enjoy.

0:35:44.600 --> 0:35:47.520
<v Speaker 2>My choice this week is a song called Warplane, and

0:35:47.600 --> 0:35:50.160
<v Speaker 2>it's by an artist called Heartworms, and if you don't

0:35:50.200 --> 0:35:53.919
<v Speaker 2>know Heartworms. She is from South London. Her real name

0:35:53.960 --> 0:35:56.400
<v Speaker 2>is jojo Ormey, but she performs under the name Heartworms

0:35:56.880 --> 0:35:59.799
<v Speaker 2>and has been around for a couple of years and

0:35:59.840 --> 0:36:01.360
<v Speaker 2>been talked about it for a couple of years. But

0:36:01.520 --> 0:36:03.840
<v Speaker 2>quite a lot of people getting excited about Heartworms because

0:36:03.840 --> 0:36:06.959
<v Speaker 2>she releases music via Speedy WonderGround, which is the label

0:36:07.040 --> 0:36:11.120
<v Speaker 2>run by the producer Dan Kerrey and has previously given

0:36:11.200 --> 0:36:14.799
<v Speaker 2>birth or introduced us to artists including Ka Tempest, Black Midi,

0:36:14.960 --> 0:36:17.799
<v Speaker 2>Fontan's DC loads and loads of really exciting stuff. So

0:36:17.800 --> 0:36:20.720
<v Speaker 2>the fact that like Heartworms is working with them says

0:36:20.800 --> 0:36:41.120
<v Speaker 2>a lot. And this song is called Warplane.

0:36:51.760 --> 0:36:54.160
<v Speaker 1>She loves war memorabilia.

0:36:54.440 --> 0:36:58.200
<v Speaker 2>Yes, she's a volunteer at the Hendon Royal Air Museum

0:36:58.440 --> 0:36:59.880
<v Speaker 2>when she's not making music.

0:37:00.160 --> 0:37:02.440
<v Speaker 1>Fantastic. We did a feature with her in the meg

0:37:02.480 --> 0:37:04.239
<v Speaker 1>I'll put a link in the bio because she talks

0:37:04.239 --> 0:37:05.560
<v Speaker 1>about that a little bit and I thought that was

0:37:05.640 --> 0:37:09.719
<v Speaker 1>just quite fascinating to be a young person into the war,

0:37:09.800 --> 0:37:11.960
<v Speaker 1>you know, into the Second World War and the planes

0:37:12.000 --> 0:37:12.560
<v Speaker 1>and all that stuff.

0:37:12.600 --> 0:37:15.480
<v Speaker 2>I mean, yeah, she serves a spitfire. Warplane is all

0:37:15.520 --> 0:37:18.720
<v Speaker 2>about her love for spitfires and it's about spitfire Pilot.

0:37:18.760 --> 0:37:20.720
<v Speaker 2>If you're looking for the meaning behind the song.

0:37:20.600 --> 0:37:22.480
<v Speaker 1>Who doesn't love a spitfire.

0:37:23.640 --> 0:37:23.719
<v Speaker 2>Me?

0:37:26.680 --> 0:37:29.560
<v Speaker 1>So I'm going to pick something brand new. It's by

0:37:30.080 --> 0:37:32.960
<v Speaker 1>a band called Lobby, which is made up of Lotty

0:37:33.080 --> 0:37:35.799
<v Speaker 1>from Goat Girl, the South London band Goat Girl, and

0:37:35.840 --> 0:37:39.759
<v Speaker 1>a guy called Toby who's in a band called Leatherhead.

0:37:40.560 --> 0:37:43.360
<v Speaker 1>And this is a track that's coming on their WEP.

0:37:43.520 --> 0:37:45.680
<v Speaker 1>The EP is called night Driving. It's going to be

0:37:45.719 --> 0:37:49.120
<v Speaker 1>out next month, but this is the first track off

0:37:49.160 --> 0:37:54.959
<v Speaker 1>of it, called Folding Out, and it's like melodic slow core.

0:37:55.480 --> 0:37:58.840
<v Speaker 1>The bit I'm about to play is where Toby's voice

0:37:59.120 --> 0:38:01.879
<v Speaker 1>joins Lotty's voice, and I think they just work very

0:38:01.880 --> 0:38:04.160
<v Speaker 1>well together. Toby's voice actually reminds me a little bit

0:38:04.160 --> 0:38:21.400
<v Speaker 1>of a of a very raw Julian Casablancas. It's over

0:38:25.080 --> 0:38:54.360
<v Speaker 1>spial on every way, believing a bit of saxophone on

0:38:54.440 --> 0:38:57.520
<v Speaker 1>there as well, and those pinched harmonics that remind me

0:38:57.560 --> 0:39:01.440
<v Speaker 1>of Slint. It's great. I love this track. That's Lobby.

0:39:01.800 --> 0:39:04.640
<v Speaker 1>The song is called Folding Out and the EP is

0:39:04.680 --> 0:39:08.439
<v Speaker 1>actually out on the first of November. We will put

0:39:08.640 --> 0:39:11.440
<v Speaker 1>both of those songs on our beat. The Algorithm playlist.

0:39:11.560 --> 0:39:14.040
<v Speaker 1>It's on Spotify. You can find it by just searching Spotify.

0:39:14.120 --> 0:39:17.759
<v Speaker 1>It will also be linked in our show notes of

0:39:17.880 --> 0:39:19.000
<v Speaker 1>this week's episode.

0:39:19.160 --> 0:39:20.759
<v Speaker 2>Stu, I've got to go for the night because I

0:39:20.840 --> 0:39:25.200
<v Speaker 2>have realized that I left my tablet in sexy Land

0:39:25.239 --> 0:39:27.719
<v Speaker 2>World in Amsterdam. And this is not a joke. It

0:39:27.840 --> 0:39:31.960
<v Speaker 2>is still there. It's in a locker in sexy Land,

0:39:32.480 --> 0:39:34.760
<v Speaker 2>so I'm going to have to send a groveling email

0:39:34.920 --> 0:39:36.879
<v Speaker 2>to sexy Land to see if I can get it back.

0:39:37.560 --> 0:39:40.400
<v Speaker 1>I'm pretty sure that is gone.

0:39:41.520 --> 0:39:44.480
<v Speaker 2>I think it probably is too. And on that note,

0:39:44.920 --> 0:39:47.480
<v Speaker 2>thanks very much for joining us tonight. We've loved chatting

0:39:47.520 --> 0:39:49.560
<v Speaker 2>all things live music. Do let us know if there

0:39:49.600 --> 0:39:52.040
<v Speaker 2>was a legendary gig that you didn't get to that

0:39:52.080 --> 0:39:53.959
<v Speaker 2>you'd have loved to have been out like we always

0:39:53.960 --> 0:39:56.160
<v Speaker 2>want to hear your thoughts on that. We're at Midnight

0:39:56.239 --> 0:39:59.400
<v Speaker 2>Chat's pod on the social media. But until next week,

0:40:00.160 --> 0:40:02.000
<v Speaker 2>I'm going to go for a lie down, a very

0:40:02.040 --> 0:40:06.400
<v Speaker 2>well needed, desperately needed lie down. And it's good night

0:40:06.440 --> 0:40:06.799
<v Speaker 2>from me.

0:40:06.920 --> 0:40:10.800
<v Speaker 1>And it's good night ware Wolfs wherever you are, howl

0:40:10.840 --> 0:40:13.040
<v Speaker 1>On baby how al on.

0:40:14.160 --> 0:40:15.600
<v Speaker 3>Oh.

0:40:19.520 --> 0:40:22.440
<v Speaker 1>Midnight Chats is a joint production between Loud and Quiet

0:40:22.480 --> 0:40:26.640
<v Speaker 1>and Atomized Studios for iHeartRadio. It's hosted by Stuart Stubbs

0:40:26.680 --> 0:40:30.000
<v Speaker 1>and Greg Cochrane, mixed and mastered by Flow Lines, and

0:40:30.200 --> 0:40:31.720
<v Speaker 1>edited by Stuart Stubbs.

0:40:32.040 --> 0:40:34.680
<v Speaker 2>Find us on Instagram and TikTok to watch clips from

0:40:34.719 --> 0:40:38.000
<v Speaker 2>our recordings and much much more. We are Midnight Chats Pod.

0:40:38.200 --> 0:40:47.920
<v Speaker 1>For more information, visit Loud and Quiet dot com