WEBVTT - ITS Home Edition: Jake Bugg 0:00:01.520 --> 0:00:05.240 Welcome to Inside the Studio presented by I Heart Radio. 0:00:05.640 --> 0:00:17.680 I'm your host Joe Levy. Okay, I know it's January, 0:00:17.680 --> 0:00:20.920 but quick flashback to Christmas. I'm not sure how Santa 0:00:20.960 --> 0:00:24.319 treated you around my way. He brought more supplies for 0:00:24.520 --> 0:00:27.520 Inside living, like a new dish rack, because it really 0:00:27.600 --> 0:00:29.920 looks like we'll be living inside for a while longer 0:00:29.960 --> 0:00:33.159 and there are always dishes to do. But if you 0:00:33.200 --> 0:00:36.640 didn't get exactly what you needed, then Jake Bug, the 0:00:36.760 --> 0:00:39.360 guest on this episode of the home edition of the show, 0:00:39.560 --> 0:00:43.160 has a suggestion find yourself a musical instrument, because that's 0:00:43.159 --> 0:00:46.160 what's been keeping him grounded. We started the home edition 0:00:46.200 --> 0:00:48.479 of Inside the Studio to let you know how the 0:00:48.520 --> 0:00:51.920 pandemic has impacted the lives of artists and how they're 0:00:51.920 --> 0:00:55.400 coping with life during lockdown, and Jake says that songwriting 0:00:55.600 --> 0:00:59.120 has been a real lifesaver for him during this period. 0:00:59.280 --> 0:01:02.960 He talked with our Quarantine correspondent Jordan Rundog about drawing 0:01:03.040 --> 0:01:08.160 inspiration from all sorts of places, sixties psychedelia, current electronic music, 0:01:08.480 --> 0:01:11.360 and about what he learned from working with producers like 0:01:11.440 --> 0:01:14.560 Rick Rubin and Dan Auerbach from The Black Keys, and 0:01:14.680 --> 0:01:19.360 also why lockdown has made him interested in carbo loading. 0:01:19.440 --> 0:01:21.880 It's not what you think. As always, If you enjoyed 0:01:21.880 --> 0:01:24.440 this episode, be sure to check out the I Heart 0:01:24.520 --> 0:01:29.600 Radio podcast that Jordan's hosts is called Rivals Music's Greatest Feuds, 0:01:29.880 --> 0:01:38.720 and it is available wherever you get your podcasts. Hello everyone, 0:01:38.760 --> 0:01:41.000 my name is Jordan run Tog, But enough about me. 0:01:41.440 --> 0:01:44.840 My guest today released his self titled debut in when 0:01:44.880 --> 0:01:47.720 he was just eighteen years old. The retro tings tracks 0:01:47.720 --> 0:01:50.680 showcase a talent and soul beyond this age, leading to 0:01:50.720 --> 0:01:54.080 collaborations with production titans like Rick Rubin and Dan Auerbach. 0:01:54.320 --> 0:01:56.280 He's in the midst of recording a new album, this 0:01:56.360 --> 0:01:59.080 time with producer Andrew Watt, who has previously worked with 0:01:59.080 --> 0:02:01.760 the likes of postmal Loan and Cardi b. His latest 0:02:01.760 --> 0:02:04.559 batch of songs move beyond the folky, gut bucket blues 0:02:04.560 --> 0:02:07.160 of his early work and draw from the psychedelic sounds 0:02:07.160 --> 0:02:10.280 of sixties San Francisco bands like Jefferson Airplane. You can 0:02:10.280 --> 0:02:12.280 get a taste on his new single All I Need. 0:02:12.480 --> 0:02:15.640 I'm so happy to welcome Jake bubb Thank you, Oh Jake, 0:02:15.680 --> 0:02:17.440 how are you today? Thank you so much for coming. 0:02:17.480 --> 0:02:20.600 How does this day in Lockdown find you today? Yeah, 0:02:20.639 --> 0:02:23.919 it's okay, so yeah, just another day of many more 0:02:23.919 --> 0:02:27.640 of them to come. But I think maybe, well I'm 0:02:27.680 --> 0:02:29.720 speaking for myself, but feeling a little more relaxed now 0:02:29.760 --> 0:02:32.880 Christmas is coming up and maybe spend some time with 0:02:32.919 --> 0:02:36.160 the family. Hopefully that's that's wonderful. Yeah, that's the best 0:02:36.160 --> 0:02:39.040 part of this time of year. Uh. You released recently 0:02:39.040 --> 0:02:41.560 released a new single, All I Need, and I was 0:02:41.600 --> 0:02:44.840 particularly taken by the first line, call me cynical but original, 0:02:45.120 --> 0:02:48.120 trying to fit into a world that's so digital. I 0:02:48.160 --> 0:02:50.880 consider myself an old soul, so that's sentiment really resonated 0:02:50.919 --> 0:02:52.800 with me. I want to ask you what that line 0:02:52.800 --> 0:02:54.959 meant to you. Do you see yourself as an analog 0:02:55.080 --> 0:02:57.160 man trying to fit in a digital world? Because I 0:02:57.200 --> 0:03:01.000 definitely do. Um no to a point, But I think 0:03:01.040 --> 0:03:04.600 it's more about, you know, the times moving so so quick, 0:03:04.639 --> 0:03:08.360 and it's it's very difficult to sometimes keep up. You know, 0:03:08.400 --> 0:03:11.000 it goes for many things. I mean, you know something 0:03:11.040 --> 0:03:13.600 that you know it was okay to say yesterday, maybe 0:03:13.600 --> 0:03:16.280 not tomorrow or something, and you know, and that goes 0:03:16.320 --> 0:03:18.919 for social media and things like that. So, yeah, it's 0:03:18.919 --> 0:03:21.040 just about everything moving a little too quick and trying 0:03:21.080 --> 0:03:23.320 to fit in where you can. I suppose I love 0:03:23.360 --> 0:03:25.560 that track. That that riff, it's like a lost Dave 0:03:25.680 --> 0:03:28.480 Davis riff or something that's such a great tun Uh. 0:03:28.760 --> 0:03:31.440 You've said that the song is about being completely engaged 0:03:31.480 --> 0:03:34.120 in something, being like lost in that moment of flow. 0:03:34.600 --> 0:03:36.640 Has song writing been a source of soulace for you 0:03:36.760 --> 0:03:41.000 during this really stressful, bizarre time. Absolutely. I mean I 0:03:41.040 --> 0:03:44.080 actually consider myself quite lucky to to be able to, 0:03:44.800 --> 0:03:46.680 you know, to sit down and win an instrument and 0:03:46.720 --> 0:03:50.120 write songs, and in this period of time, it's just yeah, 0:03:50.120 --> 0:03:52.920 it's a bit of a lifesaver really for for me mentally. 0:03:52.960 --> 0:03:55.040 And yeah, I don't know what I do without it, 0:03:55.080 --> 0:03:57.440 to be honest, And I kind of urge everybody to 0:03:57.480 --> 0:04:01.840 go out and get an instrument. Have you been feeling 0:04:01.840 --> 0:04:03.800 productive musically? I know that a lot of people, I 0:04:03.800 --> 0:04:06.920 know they're either feeling like super productive or the other 0:04:06.960 --> 0:04:09.200 alfort just you know, all right, I put my pants 0:04:09.240 --> 0:04:11.600 on today, it's a good day. How have you been 0:04:11.600 --> 0:04:14.400 feeling the film productive? Bit of both? I kind of yeah, 0:04:14.480 --> 0:04:16.320 the weekends of pants days, I try and keep a 0:04:16.360 --> 0:04:21.080 little bit of a balance. So but yeah, I've been 0:04:21.120 --> 0:04:24.800 working on music for a film about a Brazilian soccer 0:04:24.800 --> 0:04:28.320 player called Ronaldinos, So that's kind of it's kept me 0:04:28.480 --> 0:04:32.279 very much, kept me very much busy, and and also 0:04:32.600 --> 0:04:34.679 I love my soccer and he was a great player. 0:04:34.720 --> 0:04:37.120 So it's just wonderful to be part of something different 0:04:37.200 --> 0:04:40.520 and and something as cool as that. Really, how does 0:04:40.600 --> 0:04:43.440 composing music for a film differ for for just writing music? 0:04:43.520 --> 0:04:46.840 For you, It's it seems like a lot more a 0:04:46.880 --> 0:04:49.400 technical of as the world just kind of composing to 0:04:49.520 --> 0:04:51.760 a really specific medium. What's that been like for you? 0:04:53.000 --> 0:04:54.719 It's been great, to be honest, it's a it's a 0:04:54.720 --> 0:04:57.839 completely different way of looking at music. For example, like 0:04:57.839 --> 0:05:01.120 when I'm looking when I'm working towards a scene, um, 0:05:01.160 --> 0:05:04.680 and you know, it's it can be quite difficult because 0:05:04.680 --> 0:05:06.640 this scene it might have some tension, it might be 0:05:06.720 --> 0:05:09.640 quite dark. But along the way to writing the piece 0:05:09.680 --> 0:05:12.479 for the for the scene, I might create two or 0:05:12.520 --> 0:05:14.440 three things that I'm like, oh, that's really good, but 0:05:14.560 --> 0:05:16.560 I have to just leave it alone because it doesn't 0:05:16.640 --> 0:05:19.320 work with the film. And um, and in a way, 0:05:19.360 --> 0:05:21.240 it's kind of been this music's kind of been a 0:05:21.279 --> 0:05:22.800 little bit more for me because I don't have to 0:05:22.839 --> 0:05:25.800 listen to my voice for so long. It's nice to 0:05:25.800 --> 0:05:27.520 have a break, to be honest, there's no singing, so 0:05:27.600 --> 0:05:31.200 it's been good. How has the pandemic impacted your ability 0:05:31.240 --> 0:05:33.920 to to write and record? You have a home set 0:05:34.000 --> 0:05:37.080 up or yeah, so yeah, just a couple of months 0:05:37.480 --> 0:05:40.720 seven as you're using now, and an s M fifty 0:05:40.800 --> 0:05:44.839 seven as well, and the symphathizer and a couple of 0:05:44.839 --> 0:05:47.520 percussive bits, but nothing too big. It's nice to it's 0:05:47.560 --> 0:05:50.279 like a little workstation more than anything. You've worked with 0:05:50.360 --> 0:05:53.520 some incredible producers, I mean Rick Ruben down our back 0:05:53.560 --> 0:05:56.919 and most recently Steve mac What are some crucial lessons 0:05:56.960 --> 0:05:59.440 that they've they've sort of taught you about about production, 0:05:59.520 --> 0:06:01.560 or that you've learned through watching them To be honest 0:06:01.560 --> 0:06:04.240 that it's kind of I've learned a lot from these guys. 0:06:04.240 --> 0:06:07.599 But it's also impacted my my songwriting a lot as well. 0:06:07.800 --> 0:06:12.480 Thinking in that vein just because a lot of the times, 0:06:12.800 --> 0:06:15.320 you know, as musicians, we try and make things a 0:06:15.360 --> 0:06:19.280 little too complicated for ourselves and we forget that sometimes 0:06:19.839 --> 0:06:23.000 you know, the listeners just want, you know, the main 0:06:23.040 --> 0:06:25.160 body of the song. They just want you to get 0:06:25.200 --> 0:06:26.680 to the point. They want to hear the bits they 0:06:26.720 --> 0:06:29.200 like and and working with Steve mac and people like 0:06:29.279 --> 0:06:32.599 that have kind of made me more aware of getting 0:06:32.640 --> 0:06:35.720 to the point a little more and simplifying things more 0:06:35.760 --> 0:06:38.640 than anything, rather than you know, you don't always need 0:06:38.680 --> 0:06:40.680 that extra cord or you don't always need that extra 0:06:40.760 --> 0:06:42.400 note in the riff. So it's a it's a good 0:06:42.400 --> 0:06:45.760 way of looking at it now like an editor almost yeah, also, yeah, 0:06:45.800 --> 0:06:48.360 pretty much. But it's but as I say, it's impacted 0:06:48.400 --> 0:06:51.000 my writing. It helps me to if I can think 0:06:51.000 --> 0:06:52.920 like that as in the writing process, then it just 0:06:53.520 --> 0:06:54.920 it just saves a lot of time when you get 0:06:54.960 --> 0:06:56.880 into the studio as well. Always curious with people who 0:06:56.920 --> 0:06:59.560 can who can write music. Are you superstitious at all? 0:06:59.640 --> 0:07:01.920 Is there a certain guitar that you like to use, 0:07:02.040 --> 0:07:03.480 or a certain room you like to be in, or 0:07:03.480 --> 0:07:05.360 a time of day? Is there something that you feel 0:07:05.440 --> 0:07:07.080 is like I don't want to say lucky, but I 0:07:07.080 --> 0:07:09.320 guess superstitions the word I should use or is that? 0:07:09.440 --> 0:07:11.240 Is that completely out the window? I think I used 0:07:11.240 --> 0:07:13.240 to me when I was younger, but it just started 0:07:13.320 --> 0:07:14.800 driving me too mad. I used to I used to 0:07:14.840 --> 0:07:16.920 play soccer a lot, and obviously in soccer there's a 0:07:17.000 --> 0:07:21.320 lot of superstition. Isn't this so growing up? And then 0:07:21.720 --> 0:07:23.160 one day I was just like, I've I don't know 0:07:23.160 --> 0:07:24.920 if it's just driving me mad, So I let all 0:07:24.920 --> 0:07:27.360 that go. But you know, I kind of have certain 0:07:27.400 --> 0:07:30.200 things I like to like when I'm like a concert, 0:07:30.240 --> 0:07:32.080 I always like to make sure we end on a 0:07:32.160 --> 0:07:34.240 high song rather than a sad song and things like that, 0:07:34.280 --> 0:07:36.760 but not so much superstitions. Prior to Lockdown, you were 0:07:36.760 --> 0:07:40.080 working with producer Andrew Watt in the States, who's worked 0:07:40.080 --> 0:07:42.560 with people like Cardi B and Post Malone. With your 0:07:42.640 --> 0:07:45.800 name is that people wouldn't ordinarily associate with your music. 0:07:45.840 --> 0:07:48.240 What's that collaboration been like. Has it radically altered your 0:07:48.280 --> 0:07:50.960 your work process at all? Yeah? Absolutely, it's It's been 0:07:50.960 --> 0:07:57.120 great because it's given me a totally different perspective. More 0:07:57.200 --> 0:08:00.239 so anything, it was working with Andrew, what it was, 0:08:00.360 --> 0:08:02.440 it was just really fun more than anything. There was 0:08:02.640 --> 0:08:06.520 always a high energy around. There was always great musicians 0:08:06.560 --> 0:08:09.160 stopping by and playing, and you know, Chad Smith would 0:08:09.160 --> 0:08:10.720 come by and just play on the kit for us 0:08:10.760 --> 0:08:12.920 a little bit and it was. It was, It was 0:08:12.920 --> 0:08:17.000 absolutely brilliant and and that that was That was a 0:08:17.000 --> 0:08:19.160 good thing for me to be in a studio where 0:08:19.160 --> 0:08:20.600 the energy is very high, because a lot of the 0:08:20.640 --> 0:08:22.440 time in the past it's just been me sat down 0:08:22.440 --> 0:08:24.240 with the guitar of somebody or on my own. So 0:08:24.840 --> 0:08:26.560 it was a great way of working. Had a lot 0:08:26.560 --> 0:08:29.680 of fun Chad Smith you mentioned from the Drummer Chili Peppers, 0:08:29.680 --> 0:08:32.240 and and Pete Thomas too from the Attractions and I 0:08:32.360 --> 0:08:34.839 was Costello on the Impastors. What was it like having 0:08:34.960 --> 0:08:38.120 those guys on the kid It was brilliant, it was funny. 0:08:39.000 --> 0:08:41.520 I think it worked. Playing with those guys just helped 0:08:41.520 --> 0:08:43.719 me to improve as a musician. Like you know, if 0:08:43.720 --> 0:08:45.800 you if if you can't, if you can't stay in 0:08:45.840 --> 0:08:49.560 time with Chad Smith, then it's probably it's probably not 0:08:50.040 --> 0:08:52.480 It's probably not for you music because he's like the 0:08:52.520 --> 0:08:55.160 tightest drummer that is so and he hits the really 0:08:55.200 --> 0:08:59.400 hard as well. Sometimes he came to play a show, uh, 0:09:00.000 --> 0:09:01.200 I think it was like a lot of the Two 0:09:01.440 --> 0:09:04.840 Loser tour in South America and he had a show 0:09:04.840 --> 0:09:07.080 in Argentina and he just chucked dropped by the show 0:09:07.120 --> 0:09:09.240 and played on the drums and my sound guy to 0:09:09.280 --> 0:09:10.800 turn him all the way down because he was that 0:09:10.920 --> 0:09:13.000 loud in this club. I don't think he had any 0:09:13.000 --> 0:09:14.920 of them in the p A to be honest. Yeah, 0:09:14.960 --> 0:09:17.760 because he's got that guy knows how to project. I 0:09:17.760 --> 0:09:20.720 guess that's the way I'll put it, for sure. Yeah, 0:09:21.520 --> 0:09:33.160 for sure. I know you're working on your new album. 0:09:33.280 --> 0:09:36.680 How would the sound compare to some of your work 0:09:36.679 --> 0:09:39.480 that's come before, specifically your your your first two albums. 0:09:39.600 --> 0:09:43.280 Is it radically different sonic departure for you? I think 0:09:43.320 --> 0:09:47.800 sonically yes, definitely. It's one thing I was that I 0:09:47.840 --> 0:09:51.000 wanted to achieve with this new album, was I wanted 0:09:51.040 --> 0:09:52.960 to take it, you know, everything that was about me, 0:09:53.440 --> 0:09:56.240 my DNA and all the music I love, but try 0:09:56.280 --> 0:09:58.680 and we'll put it into there now really and try 0:09:58.679 --> 0:10:01.600 and modernize it into of its production. And I just wondered, 0:10:01.920 --> 0:10:04.120 how could I bring all those older influences and all 0:10:04.120 --> 0:10:06.480 the music that I love into a into a more 0:10:06.520 --> 0:10:09.240 modern sound. And working with people like Andrew Watt and 0:10:09.559 --> 0:10:11.480 Steve mac and things like that have really helped me 0:10:11.520 --> 0:10:14.920 to I believe, achieved that. So I'm just trying to 0:10:14.960 --> 0:10:17.560 strive for that really and and see what happened. I 0:10:17.600 --> 0:10:19.360 read an interview where you you gave here you're talking 0:10:19.400 --> 0:10:21.320 about the songs are recording now, and that the only 0:10:21.360 --> 0:10:23.240 through line that you were able to really sense in 0:10:23.280 --> 0:10:26.280 it was an influence of Jefferson Airplane, the great sixties 0:10:26.280 --> 0:10:29.200 psyche rock, San Francisco psyde rock band. What is it 0:10:29.240 --> 0:10:31.640 that attracts to you to that that psychedelic sound? I 0:10:31.720 --> 0:10:34.120 love it too. I don't know. I guess it's I 0:10:34.160 --> 0:10:35.600 think I loved it so much when I was a 0:10:35.600 --> 0:10:39.240 teenager and it was just such a a great escape, 0:10:39.960 --> 0:10:43.160 and like, how are they getting these sounds? Um and 0:10:43.400 --> 0:10:46.240 at the end of the day, it's you know, it's drum, kick, guitars, bass, 0:10:46.320 --> 0:10:48.240 and but I was just always wondered how they got 0:10:48.280 --> 0:10:51.240 such a trippy sound out of it, And and I 0:10:51.320 --> 0:10:55.400 thought that I thought it was something that's maybe lacking 0:10:55.400 --> 0:10:58.480 in today's music, a bit more psyched psychedelia. I thought, 0:10:58.600 --> 0:11:00.760 why not make it a little more trip and a 0:11:00.760 --> 0:11:02.719 little bit on the darker side. So and that's why 0:11:02.800 --> 0:11:06.720 also working with the Camel Fat guys for the for 0:11:06.800 --> 0:11:10.560 the House song that I did with them, it was 0:11:11.000 --> 0:11:12.800 it was it was very much that it's more darker 0:11:13.040 --> 0:11:15.079 lads and a little bit trippy aside. So I really 0:11:15.160 --> 0:11:17.200 enjoyed it. I love the trick you did with Camel 0:11:17.240 --> 0:11:21.000 Fairs someone. What was the response from the electronic community 0:11:21.040 --> 0:11:27.720 with that? Did they embrace you with with open arms? Surprisingly, yeah, 0:11:27.760 --> 0:11:30.440 I would. I wouldn't usually say yeah even if they did, 0:11:30.520 --> 0:11:34.080 but in this case, I was very surprised we played. 0:11:35.160 --> 0:11:37.439 I did. I came out and played with them at Coachella, 0:11:38.000 --> 0:11:42.360 and and the crowd well, I think I think anybody 0:11:42.360 --> 0:11:43.760 could have been singing on the stage and they would 0:11:43.760 --> 0:11:45.920 have been having a great time, to be honest, But 0:11:46.040 --> 0:11:47.959 it was nice to be part of. And then we 0:11:48.080 --> 0:11:51.920 played in Ibifa and and it just felt very strange 0:11:51.920 --> 0:11:55.160 to perform without a guitar, just a microphone and and 0:11:55.320 --> 0:11:58.200 doing a dance song of all things. So it was 0:11:58.240 --> 0:12:00.760 just it was a great experience, and it was I 0:12:00.760 --> 0:12:02.560 think it was good for me to, you know, push 0:12:02.600 --> 0:12:04.360 myself out of my comfort zone a little as well, 0:12:04.400 --> 0:12:07.640 giving back to the psychedelic vibe. I love the videos 0:12:07.640 --> 0:12:10.640 you've heard recently with the with the filmmaking collective High Art, 0:12:10.679 --> 0:12:13.640 the ones for rabbit Hole and the Saviors for the City. 0:12:13.679 --> 0:12:16.200 They're incredible. They remind me of an Alex Gray painting 0:12:16.280 --> 0:12:19.400 or something. What what was the background with with those 0:12:19.440 --> 0:12:21.840 How did you you first link up with high Art. Well, 0:12:21.960 --> 0:12:24.640 that was the first instance was we had to do 0:12:24.800 --> 0:12:28.280 a what they call a vertical video now for like 0:12:28.360 --> 0:12:32.079 Spotify and things like that, for for for the Camel 0:12:32.120 --> 0:12:34.560 Fat song. Um, so they already had their video and 0:12:34.559 --> 0:12:37.439 then we had to do it was like an extra 0:12:37.520 --> 0:12:40.000 video bit of content they wanted. So I met them 0:12:40.040 --> 0:12:42.440 through that and I love what they did, and and 0:12:42.520 --> 0:12:45.040 I and I just I just love their ideas for 0:12:45.480 --> 0:12:50.520 the same kind of principle really and psychedelic, crazier effects 0:12:50.559 --> 0:12:55.160 going on lights and and also you know, an underlining 0:12:55.280 --> 0:12:58.400 dialogue as well, but nothing that takes away from from 0:12:58.400 --> 0:13:00.320 the song at all, which is important to me. I 0:13:00.360 --> 0:13:03.199 don't like. I don't like videos that have their own 0:13:03.800 --> 0:13:07.559 concept that's derivative from the music, or or that has 0:13:07.600 --> 0:13:10.520 too much dialogue. I think it should be open for interpretation. 0:13:10.559 --> 0:13:12.720 I believe. I mean, it supports your music in such 0:13:13.240 --> 0:13:16.000 an incredible way. It's it's some of the most amazing 0:13:16.080 --> 0:13:18.760 videos I've seen in a very long time. I loved 0:13:19.200 --> 0:13:23.199 Saviors of the City came out in the spring, right 0:13:23.240 --> 0:13:25.240 when the world was going in the lockdown. It felt 0:13:25.240 --> 0:13:27.679 so perfect for the global situation. But that song has 0:13:27.679 --> 0:13:30.760 been around for for quite some time, right, that's the yeah, 0:13:30.800 --> 0:13:33.120 it has and that that was the interesting thing about it. 0:13:33.760 --> 0:13:38.400 We kind of written it, had written it um and 0:13:39.120 --> 0:13:42.400 kind of as a it's like a post apocalyptic kind 0:13:42.440 --> 0:13:46.120 of song really, and and then when when it kind 0:13:46.120 --> 0:13:48.400 of got released in yeah, in the spring, it just 0:13:48.480 --> 0:13:50.400 kind of took on this whole different meaning and how 0:13:50.440 --> 0:13:53.520 people were messaging me, going, oh, you've really captured out 0:13:53.800 --> 0:13:56.480 things are I'm feeling and it's I didn't even write 0:13:56.480 --> 0:13:59.040 it for that but aarly, but yeah, it's pretty apt. 0:13:59.120 --> 0:14:01.480 At the moment, I thought it's gonna be tough deciding 0:14:01.480 --> 0:14:03.720 which songs to release at a time like this, because 0:14:03.720 --> 0:14:05.320 on one hand, you don't want to come across as 0:14:05.520 --> 0:14:07.320 you know, sort of flipping, but in the other end, 0:14:07.360 --> 0:14:09.199 you don't want to add to the darkness too. That 0:14:09.280 --> 0:14:14.640 must be a difficult needle the thread. Absolutely, yes, I've 0:14:14.679 --> 0:14:17.959 got many songs ready to go, but I think we 0:14:18.480 --> 0:14:20.760 we was very conscious of that when releasing All I 0:14:21.040 --> 0:14:24.760 All I Need, because yeah, it's really not a time 0:14:24.800 --> 0:14:27.840 people want to feel even sadder and down, So it 0:14:27.920 --> 0:14:29.840 was quite conscious of that and just wanted to give 0:14:29.880 --> 0:14:32.920 somebody people something a bit more energy and a little 0:14:32.920 --> 0:14:36.320 bit more be Really, you started recording when you were 0:14:36.720 --> 0:14:39.880 what eighteen? Are there any songs from from when when 0:14:39.920 --> 0:14:41.600 you from earlier in your career that have had the 0:14:41.600 --> 0:14:43.760 meanings really changed for you over the years and evolve. 0:14:44.600 --> 0:14:47.880 I guess yeah. I remember one of the songs we 0:14:47.920 --> 0:14:50.440 did with Rick Rubin on the second album, Shangol are 0:14:51.000 --> 0:14:54.320 simple Pleasures that wasn't that wasn't even a single or anything, 0:14:54.360 --> 0:14:57.040 And so when we play it live, it's like it's 0:14:57.120 --> 0:14:58.960 kind of a crowd favorite. We kind of play it 0:14:59.040 --> 0:15:01.560 second to last and stuff, and it's one of those 0:15:01.560 --> 0:15:05.400 where they sing along to the riff, which is always fun. 0:15:06.400 --> 0:15:09.320 But yeah, it was never a bit single release and 0:15:09.360 --> 0:15:12.280 that's totally taken on its own life. I might have 0:15:12.360 --> 0:15:16.040 even accidentally stuck a ten minutes solo in the end 0:15:16.080 --> 0:15:19.400 of it sometimes, but but it's just it's just a 0:15:19.520 --> 0:15:21.920 nice and fun one that we enjoy playing so and 0:15:22.000 --> 0:15:24.200 no ten minutes solos that I made that up. Maybe 0:15:24.280 --> 0:15:28.680 next time may next time out there may Yes, when 0:15:28.680 --> 0:15:31.000 the first gig back, hopefully everybody will be so happy 0:15:31.040 --> 0:15:32.920 to be back at a gig. They'll they'll tolerate a 0:15:33.040 --> 0:15:36.920 ten minutes solo. Who knows. I mean, that has to 0:15:36.920 --> 0:15:39.600 be just so tough for you not having you know, 0:15:39.680 --> 0:15:42.160 that that access point with with with the fans, that 0:15:42.240 --> 0:15:45.040 that face to phace connection. What's been been filling that 0:15:45.080 --> 0:15:48.880 space for you? Um? Yeah, it's been difficult. And to 0:15:48.920 --> 0:15:51.760 be honest, that filling that space has just been the 0:15:51.800 --> 0:15:54.920 support on on the social platforms really from from my 0:15:55.040 --> 0:15:59.360 audience and my fans and honestly, um, from my own 0:15:59.360 --> 0:16:02.200 personal opinion, I couldn't ask for a better better fans 0:16:02.240 --> 0:16:05.080 really in terms of when things haven't been going my 0:16:05.160 --> 0:16:07.400 way and maybe I haven't released the music that they 0:16:07.440 --> 0:16:10.600 want to, they're still very much, very supportive, supportive of me, 0:16:10.720 --> 0:16:14.320 and and uh and I've stuck with me and it's 0:16:14.360 --> 0:16:17.720 a it's been It's been amazing. Really, I can't ask 0:16:17.760 --> 0:16:19.440 for much more. So I want to say thank you 0:16:19.480 --> 0:16:21.080 to them. If any of them listening, well, then let 0:16:21.120 --> 0:16:23.440 me ask you this. If you haven't been touring for 0:16:23.440 --> 0:16:28.040 a while, to make that paying a little less well, 0:16:28.280 --> 0:16:31.720 what was your your biggest performance mishap, biggest like spinal 0:16:31.760 --> 0:16:35.760 tap moment where everything was going wrong on tour on 0:16:35.840 --> 0:16:38.400 the stage, funny enough, like on stage it's never been 0:16:38.400 --> 0:16:40.880 too bad, but we've definitely had some spinal tap moments 0:16:40.920 --> 0:16:44.680 where we haven't been able to find the stage and 0:16:44.680 --> 0:16:47.280 and things like that. Honestly, it's it's certainly let's rock 0:16:47.320 --> 0:16:52.240 them roll. Oh no, it's that way and so, but 0:16:52.520 --> 0:16:55.680 on on stage, I'm trying to think it's been. In fact, 0:16:55.680 --> 0:16:58.680 the one spinal tap moment for the end of the 0:16:58.760 --> 0:17:01.400 set I used, he played my song Broken from the 0:17:01.440 --> 0:17:03.960 first album, and it's a moment where the band walk 0:17:04.000 --> 0:17:07.520 off and and they have five minutes or whatever, and 0:17:07.960 --> 0:17:09.959 then after the song they come back on, and so 0:17:10.000 --> 0:17:12.200 they all come back on. I'm like, where's where's Robo, 0:17:12.320 --> 0:17:15.640 where's the where's the bass player? And and he'd gone 0:17:15.640 --> 0:17:18.160 out for a cigarette. He'd gone out for a cigarette 0:17:18.160 --> 0:17:22.840 outside a fire door and it closed behind him. Oh 0:17:22.920 --> 0:17:26.000 my god, that's that sounds like a nightmare. Did Did 0:17:26.000 --> 0:17:28.280 he ever make it back on? Yeah? He made it 0:17:28.280 --> 0:17:29.800 back on, but I was just like, what were you doing? 0:17:29.800 --> 0:17:31.520 He goes, sorry, I got locked outside. I was like, 0:17:31.520 --> 0:17:35.960 there's there's like two three thousand people waiting in that's 0:17:36.880 --> 0:17:38.920 there's plenty more as well. I'm sure they'll come to 0:17:39.000 --> 0:17:51.359 me later on. No, you came from a very musical family. 0:17:51.520 --> 0:17:53.639 Was there a moment when you knew that that music 0:17:53.720 --> 0:17:55.480 was going to be your path or was it always 0:17:55.480 --> 0:17:57.080 a given? Was this always something that you knew you 0:17:57.119 --> 0:18:00.880 wanted to pursue it. To be honest, I wouldn't say 0:18:00.880 --> 0:18:03.240 it's how of confidence or anything like that. But from 0:18:03.240 --> 0:18:05.760 the age of thought fourteen, I knew it's what I 0:18:05.800 --> 0:18:09.639 wanted to do. Whether or not i'd be doing it 0:18:09.680 --> 0:18:12.159 to this level or not, I really didn't know, But 0:18:12.240 --> 0:18:14.560 it didn't matter to me. I just wanted to I 0:18:14.600 --> 0:18:16.440 wanted to see the world and I wanted to play music, 0:18:16.680 --> 0:18:21.399 And unfortunately that's happened, and and to a degree that 0:18:21.440 --> 0:18:24.960 I couldn't have wished for. Really, So I'm yeah, very 0:18:25.080 --> 0:18:27.840 very grateful for the opportunities. But I always know i'd 0:18:27.840 --> 0:18:29.840 be doing it even even if we were doing the 0:18:29.840 --> 0:18:32.120 toilet tour, we'd still be doing it. And I think 0:18:32.160 --> 0:18:35.320 that's what I think. That's what somebody somebody mentioned to 0:18:35.359 --> 0:18:38.080 me many years ago. They said, if if you're happy 0:18:38.480 --> 0:18:41.240 to stay in the terrible hotels and play the small gigs, 0:18:41.240 --> 0:18:43.720 and you're happy doing that, then it's probably for you. 0:18:44.840 --> 0:18:47.960 I know early on one of your earliest musical influences 0:18:48.000 --> 0:18:51.200 was Don McLean, most famous probably for writing American Pie, 0:18:51.280 --> 0:18:55.240 but so many other incredible songs. Empty Chairs, Vincent. You 0:18:55.320 --> 0:18:58.879 think you recently appeared in the Classic Albums documentary about 0:18:58.880 --> 0:19:01.639 the American Album. I just want to ask you, what 0:19:01.680 --> 0:19:04.040 was it about his work that that that touched you 0:19:04.119 --> 0:19:07.080 so deeply? For me, I think it's it's hard to 0:19:07.080 --> 0:19:11.199 describe when when you feel an emotion or emotions convey 0:19:11.280 --> 0:19:13.840 to you through song, it can it can be very 0:19:13.840 --> 0:19:16.480 difficult to describe why you like it or why I don't. 0:19:16.560 --> 0:19:20.280 But I think that's what I felt. I felt sincerity 0:19:20.320 --> 0:19:23.000 behind the songs. I felt connection, and most of all, 0:19:23.040 --> 0:19:27.600 they were just very beautiful melodies with great lyrics and 0:19:27.600 --> 0:19:30.680 and I think that's just what spoke to me is It's. Yeah, 0:19:30.680 --> 0:19:33.040 it's quite difficult to describe. Really, What have you been 0:19:33.320 --> 0:19:36.320 been listening to during lockdown? I've been finding myself returning 0:19:36.320 --> 0:19:38.800 to songs I haven't listened to in ten years, like 0:19:39.040 --> 0:19:42.000 musical comfort food, I guess. But have you been feeling 0:19:42.000 --> 0:19:45.560 that way too? Yeah, I've been trying to well, because 0:19:45.600 --> 0:19:47.600 I've been working on the documentary for the for the 0:19:47.640 --> 0:19:52.120 soccer for Ronaldino soccer Player. I've been able to learn 0:19:52.160 --> 0:19:54.520 and listen to a lot more samba and Boston over 0:19:54.560 --> 0:19:59.480 and things like that. So Gilberto, yeah, exactly, that that guy. 0:20:00.040 --> 0:20:04.240 I've been I've been rinsing his albums this year. I 0:20:04.280 --> 0:20:06.199 think he was the top like top artist on the 0:20:06.200 --> 0:20:09.720