1 00:00:00,560 --> 00:00:01,320 Speaker 1: Taking a walk. 2 00:00:01,480 --> 00:00:04,280 Speaker 2: A lot of people can sing, but most people don't 3 00:00:04,320 --> 00:00:06,400 Speaker 2: realize they can sing. They don't know they can sing. 4 00:00:07,240 --> 00:00:09,760 Speaker 2: And if the idea of kind of doing it in 5 00:00:09,840 --> 00:00:12,240 Speaker 2: anything like a you know, doing it in front of 6 00:00:12,240 --> 00:00:14,920 Speaker 2: an audience is something that just phrases a lot of people. 7 00:00:15,040 --> 00:00:18,680 Speaker 3: What happens when punk rock energy meets the haunting melodies 8 00:00:18,720 --> 00:00:23,400 Speaker 3: of traditional Irish music, you get the pogues. One of 9 00:00:23,400 --> 00:00:28,360 Speaker 3: the most colorful voices Spider Stacy, I'm buzz night and 10 00:00:28,440 --> 00:00:31,280 Speaker 3: today I'm taking a walk. We step into the winding 11 00:00:31,360 --> 00:00:35,720 Speaker 3: streets of Spider's musical journey, where every stroll. 12 00:00:35,479 --> 00:00:36,440 Speaker 4: Sparks the story. 13 00:00:36,800 --> 00:00:40,320 Speaker 3: Every melody tells a tale, whether it's the call of 14 00:00:40,360 --> 00:00:43,640 Speaker 3: the tin whistle or the roar of the crowd. Spider 15 00:00:43,720 --> 00:00:48,519 Speaker 3: reveals how walking through life's highs and lows fuels the 16 00:00:48,600 --> 00:00:50,080 Speaker 3: magic behind the music. 17 00:00:51,360 --> 00:00:54,240 Speaker 4: Lace up those shoes. This is one walk you won't 18 00:00:54,280 --> 00:01:01,160 Speaker 4: want to miss. Taking a walk. So great to have 19 00:01:01,240 --> 00:01:02,680 Speaker 4: you on. Take it a walk, my friend. 20 00:01:03,520 --> 00:01:05,760 Speaker 2: Yeah, it's really good to be here. Thanks for having it. 21 00:01:06,880 --> 00:01:11,080 Speaker 3: So we're virtual, but I do have to ask you 22 00:01:11,520 --> 00:01:15,920 Speaker 3: our opening question. Use your imagination however you like, Spider, 23 00:01:16,000 --> 00:01:21,720 Speaker 3: I know your imagination runs wild, Who could you envision 24 00:01:22,720 --> 00:01:24,760 Speaker 3: that you'd want to take a walk with living or dead? 25 00:01:25,319 --> 00:01:26,920 Speaker 4: And where do you think you would like to take 26 00:01:26,920 --> 00:01:27,480 Speaker 4: that walk? 27 00:01:28,600 --> 00:01:33,200 Speaker 2: Well, actually, I know the answer to this one. When 28 00:01:33,240 --> 00:01:37,080 Speaker 2: we first moved to New Orleans, we moved to the 29 00:01:37,440 --> 00:01:41,360 Speaker 2: part of the Tremee that's between North Claybourne Avenue and 30 00:01:41,959 --> 00:01:45,000 Speaker 2: North Broad Avenue, which is the part of the Tremee 31 00:01:45,000 --> 00:01:48,480 Speaker 2: that is was kind of really I guess well, some 32 00:01:48,520 --> 00:01:50,600 Speaker 2: people didn't even sort of accept that it really was 33 00:01:50,640 --> 00:01:53,400 Speaker 2: in the Tremee at all. The part of the tree 34 00:01:53,480 --> 00:01:56,200 Speaker 2: between Rampart and Clayborne, the sort of lower part is 35 00:01:56,240 --> 00:02:00,200 Speaker 2: definitely the pretty sort of creole cottage kind of thing. 36 00:02:00,880 --> 00:02:04,440 Speaker 2: This other part above Playborne and above where they decided 37 00:02:04,440 --> 00:02:07,120 Speaker 2: to put the I ten during the sixties, which was 38 00:02:08,600 --> 00:02:13,720 Speaker 2: an act of urban vandalism, shall we say we that's 39 00:02:13,720 --> 00:02:16,320 Speaker 2: a kind of more but a bit more sort of 40 00:02:16,320 --> 00:02:21,880 Speaker 2: hard scrubble, I guess, certainly less green. And when we 41 00:02:21,919 --> 00:02:24,239 Speaker 2: moved there, we'd kind of we kind of like got 42 00:02:24,240 --> 00:02:26,840 Speaker 2: the impression that we were pretty much like really the 43 00:02:26,880 --> 00:02:28,880 Speaker 2: only white people living for you know, a good few 44 00:02:28,880 --> 00:02:32,880 Speaker 2: blocks around, but we had no truck or or bikes. 45 00:02:32,919 --> 00:02:34,720 Speaker 2: Even at that stage when we first got there, so 46 00:02:34,720 --> 00:02:36,960 Speaker 2: we were just we'd just walk around, you know, we 47 00:02:36,960 --> 00:02:39,440 Speaker 2: didn't mind the heat, it was, it was all everything 48 00:02:39,520 --> 00:02:42,320 Speaker 2: was new to us. But then we noticed that very 49 00:02:42,320 --> 00:02:45,720 Speaker 2: swiftly there was this old white guy living two blocks 50 00:02:45,720 --> 00:02:48,280 Speaker 2: below us on the two thousand block of Saint Philip Street. 51 00:02:48,840 --> 00:02:50,720 Speaker 2: And we got talking to him and it turned out 52 00:02:50,720 --> 00:02:52,920 Speaker 2: he was actually we were walking past it one day 53 00:02:52,960 --> 00:02:55,800 Speaker 2: and he went and out like that and we were like, oh, 54 00:02:55,880 --> 00:02:58,480 Speaker 2: you're English. And his name was Tom Staggan. He was 55 00:02:58,480 --> 00:03:01,720 Speaker 2: from He was from South London and he had come 56 00:03:01,760 --> 00:03:06,360 Speaker 2: over to New Orleans in about nineteen sixty eight. He 57 00:03:06,400 --> 00:03:09,240 Speaker 2: had been he had had an interesting life. He had 58 00:03:09,280 --> 00:03:12,400 Speaker 2: been like an all a pro wrestler and all in 59 00:03:12,480 --> 00:03:15,120 Speaker 2: wrestler in England, which is a very different thing to 60 00:03:15,160 --> 00:03:20,680 Speaker 2: your wrestling. It's totally totally staged. And he was one 61 00:03:20,680 --> 00:03:22,600 Speaker 2: of the sort of ring villains, you know. He was 62 00:03:22,639 --> 00:03:24,400 Speaker 2: the baddie, the one that the old the old, the 63 00:03:24,400 --> 00:03:26,399 Speaker 2: old ladies would all boo out and sort of throw 64 00:03:26,440 --> 00:03:29,120 Speaker 2: stuff at It's only this kind of like little skinny guy. 65 00:03:29,160 --> 00:03:32,560 Speaker 2: But anyway, there you go. Well, also he there was 66 00:03:32,600 --> 00:03:35,680 Speaker 2: a big New Orleans jazz scene, the trad jazz scene, 67 00:03:35,920 --> 00:03:38,680 Speaker 2: in England in the late fifthies, sort of studed in 68 00:03:38,680 --> 00:03:41,640 Speaker 2: the early fifties in fact, and he was one of 69 00:03:41,640 --> 00:03:43,840 Speaker 2: those guys. He was he was really really he just 70 00:03:44,080 --> 00:03:48,480 Speaker 2: loved old, old style, old school New Orleans jazz. And 71 00:03:48,600 --> 00:03:51,200 Speaker 2: he actually was booking a few New Orleans artists who 72 00:03:51,200 --> 00:03:54,000 Speaker 2: were coming over to the UK in the sixties. And 73 00:03:54,320 --> 00:03:55,960 Speaker 2: one of these guys, I believe it might have been 74 00:03:56,000 --> 00:03:59,560 Speaker 2: Walter Penny, said to him, you should come to New Orleans, 75 00:04:00,200 --> 00:04:02,880 Speaker 2: and he did in about sixty eight and he just 76 00:04:02,920 --> 00:04:06,360 Speaker 2: stayed there and he never left. And we'd actually go 77 00:04:06,520 --> 00:04:08,600 Speaker 2: driving around with Tom because when we first met him, 78 00:04:08,600 --> 00:04:10,400 Speaker 2: you know, he was like getting on a bit. He 79 00:04:10,480 --> 00:04:14,280 Speaker 2: was in his late seventies and New Orleans, say, in 80 00:04:14,320 --> 00:04:16,640 Speaker 2: the summer is not really kind of place to be 81 00:04:16,640 --> 00:04:18,800 Speaker 2: walking around if you're a New late seventies because it 82 00:04:18,839 --> 00:04:22,880 Speaker 2: gets cruelly hot. But we're drive around with him and 83 00:04:24,160 --> 00:04:26,640 Speaker 2: he would just like he was just a mine of information. 84 00:04:26,800 --> 00:04:29,520 Speaker 2: He'd be like, you know, you'd see some sort of 85 00:04:29,600 --> 00:04:33,640 Speaker 2: like kind of like abandoned sort of looked like it 86 00:04:33,720 --> 00:04:35,760 Speaker 2: might have been a cinema or something. At one time 87 00:04:35,800 --> 00:04:38,640 Speaker 2: he goes, oh, that that was rips. That was rips, 88 00:04:38,680 --> 00:04:43,080 Speaker 2: and rip was that's Domino's bodyguard, and he bought and 89 00:04:43,160 --> 00:04:46,040 Speaker 2: this was his club, and he'd have all these stories 90 00:04:46,080 --> 00:04:50,160 Speaker 2: about you know, about Rips Club and and you know, 91 00:04:50,680 --> 00:04:53,520 Speaker 2: he lived in a house that was that was owned 92 00:04:53,520 --> 00:04:57,000 Speaker 2: by Dave Bartholomew, who's as a legitimate claim to be 93 00:04:57,120 --> 00:04:59,800 Speaker 2: definitely one of the founding fathers of rock and roll. 94 00:05:00,240 --> 00:05:03,080 Speaker 2: Of what the actual draft of the constitution if you like, 95 00:05:03,160 --> 00:05:06,000 Speaker 2: and people to continue them out for and uh, and 96 00:05:06,200 --> 00:05:09,240 Speaker 2: he just would just go around. He knew, you know, 97 00:05:09,400 --> 00:05:11,560 Speaker 2: because obviously by this point the New Orleans there were 98 00:05:11,560 --> 00:05:13,080 Speaker 2: a lot of the places they'd be pointing out what 99 00:05:13,200 --> 00:05:16,479 Speaker 2: places that were in fact no longer there because time 100 00:05:16,560 --> 00:05:19,840 Speaker 2: and people dying and Katrina and everything so on and 101 00:05:19,960 --> 00:05:23,400 Speaker 2: so forth. But he knew like everything about the place. 102 00:05:23,440 --> 00:05:25,880 Speaker 2: And what I'd really like to do is actually I 103 00:05:25,960 --> 00:05:28,640 Speaker 2: need I need. I needed the use of a time 104 00:05:28,720 --> 00:05:32,000 Speaker 2: machine is go back and wander around New or New 105 00:05:32,080 --> 00:05:35,680 Speaker 2: Orleans with him, maybe say in the early seventies, and 106 00:05:35,800 --> 00:05:38,240 Speaker 2: uh and and and see and see what that was like, 107 00:05:38,279 --> 00:05:40,159 Speaker 2: because that's when a lot of these people, the guys 108 00:05:40,160 --> 00:05:42,120 Speaker 2: that he sort of like had been booking and everything 109 00:05:43,600 --> 00:05:45,840 Speaker 2: were still alive and everything. So I'd say that would 110 00:05:45,839 --> 00:05:48,039 Speaker 2: be that would be quite something to do. He us 111 00:05:48,160 --> 00:05:49,760 Speaker 2: is one of the one of the things he told us, 112 00:05:49,880 --> 00:05:53,560 Speaker 2: just like, you know, Bourbon Street now nowadays is I mean, 113 00:05:53,800 --> 00:05:56,120 Speaker 2: you know, people go to Bourbon Street to kind of 114 00:05:56,160 --> 00:05:57,600 Speaker 2: have fun and everything, but it's a bit of a 115 00:05:57,800 --> 00:05:58,880 Speaker 2: it's a bit of a terrorist trap. 116 00:05:58,920 --> 00:05:59,080 Speaker 4: Really. 117 00:05:59,120 --> 00:06:02,279 Speaker 2: It's a bit like like I say, Temple Bar in Dublin. 118 00:06:02,320 --> 00:06:05,080 Speaker 2: You know, like you go to go to Dublin and 119 00:06:05,279 --> 00:06:06,640 Speaker 2: you know a lot of people go to Temple Bar 120 00:06:06,680 --> 00:06:08,279 Speaker 2: and they don't think to sort of go outside that. 121 00:06:08,360 --> 00:06:11,320 Speaker 2: But actually, you know, real Dublin is more outside of 122 00:06:11,400 --> 00:06:13,600 Speaker 2: Temple Bar than it is inside of it. Save as 123 00:06:13,640 --> 00:06:17,159 Speaker 2: with New Orleans and Bourbon Street. But I mean, I 124 00:06:17,200 --> 00:06:20,279 Speaker 2: remember when we first went to Bourbon Street. The band 125 00:06:20,320 --> 00:06:22,400 Speaker 2: back in the late eighties went to New Orleans, I 126 00:06:22,440 --> 00:06:26,080 Speaker 2: should say, Bourbon Street in those days just wild, you know, 127 00:06:26,200 --> 00:06:29,240 Speaker 2: not like it is now. It's really really wild. But 128 00:06:29,279 --> 00:06:31,159 Speaker 2: I mean, I can only imagine what it would have 129 00:06:31,200 --> 00:06:34,599 Speaker 2: been like twenty years prior to that. He said that 130 00:06:34,640 --> 00:06:36,760 Speaker 2: you would walk down if you walk down the street, 131 00:06:37,240 --> 00:06:40,279 Speaker 2: the middle of Bourbon Street, so you were equidistance between 132 00:06:40,320 --> 00:06:42,800 Speaker 2: the bars on each side, said the noise would just 133 00:06:42,839 --> 00:06:46,880 Speaker 2: be deafening because there'd be just bands everywhere just playing 134 00:06:47,160 --> 00:06:53,320 Speaker 2: really really hard, really loud. There's a great because Jelly 135 00:06:53,360 --> 00:06:58,719 Speaker 2: Roll Morton's autobiography when he talks about you know, if 136 00:06:58,760 --> 00:07:01,159 Speaker 2: you wanted to play with with with the black musicians, 137 00:07:01,200 --> 00:07:04,520 Speaker 2: you had to play really really hard because otherwise they 138 00:07:04,560 --> 00:07:07,360 Speaker 2: weren't you know. They was like, nah, no, you're not 139 00:07:07,440 --> 00:07:08,400 Speaker 2: used to us. 140 00:07:08,720 --> 00:07:09,240 Speaker 4: Yeah. 141 00:07:09,440 --> 00:07:12,120 Speaker 2: Yeah, you'd be left in the dust. You'd be left 142 00:07:12,160 --> 00:07:16,080 Speaker 2: in the dust. Yeah. Yeah, those those guys play their instruments. 143 00:07:16,160 --> 00:07:20,000 Speaker 4: Yeah, what a great story. Thank you for sharing that. 144 00:07:20,080 --> 00:07:22,880 Speaker 3: And we got the time machine all cranked up for 145 00:07:23,000 --> 00:07:23,600 Speaker 3: you for sure. 146 00:07:24,040 --> 00:07:24,880 Speaker 2: Oh beautiful. 147 00:07:25,200 --> 00:07:28,120 Speaker 4: Yeah, get strap in as they say, right yeh. 148 00:07:28,840 --> 00:07:32,160 Speaker 3: But so we're going to talk about the tour, which 149 00:07:32,200 --> 00:07:36,360 Speaker 3: I know you're super excited about, but I do want 150 00:07:36,400 --> 00:07:39,760 Speaker 3: to ask you, do you recall the. 151 00:07:39,640 --> 00:07:46,040 Speaker 5: First moment in your existence that you knew you had 152 00:07:46,040 --> 00:07:50,360 Speaker 5: this deep connection to music that would manifest itself to 153 00:07:50,440 --> 00:07:50,920 Speaker 5: this day. 154 00:07:52,160 --> 00:07:54,400 Speaker 2: It's a funny thing, actually, because it's always something that 155 00:07:54,440 --> 00:07:58,360 Speaker 2: I thought I would do, even though there was no 156 00:07:59,000 --> 00:08:01,880 Speaker 2: kind of real reason for thinking that I might do it. 157 00:08:02,880 --> 00:08:06,360 Speaker 2: I didn't. I didn't play any musical instrument until I 158 00:08:06,480 --> 00:08:08,520 Speaker 2: joined the Pokes. You know, I was in a punk 159 00:08:08,520 --> 00:08:12,000 Speaker 2: band prior to the Pokes, but I was the singer, 160 00:08:12,080 --> 00:08:15,360 Speaker 2: for want of a better word, yeah, the singer. But 161 00:08:16,920 --> 00:08:21,160 Speaker 2: it was always there, and it was always just it 162 00:08:21,240 --> 00:08:23,880 Speaker 2: was always something I sort of like i'd kind of 163 00:08:24,200 --> 00:08:26,440 Speaker 2: I kind of thought about, but more in the sort 164 00:08:26,440 --> 00:08:29,640 Speaker 2: of abstract, if that makes sense. And I think really 165 00:08:29,680 --> 00:08:31,680 Speaker 2: the crucial thing for me, and I think for a 166 00:08:31,680 --> 00:08:33,800 Speaker 2: lot of other people as well, was where punk Happened 167 00:08:35,160 --> 00:08:38,920 Speaker 2: is seventy six seventy seven, and a lot of us 168 00:08:38,960 --> 00:08:40,920 Speaker 2: really just got the idea. You know that, you know, 169 00:08:41,040 --> 00:08:43,520 Speaker 2: it doesn't actually matter if you like, if you've got 170 00:08:43,559 --> 00:08:46,800 Speaker 2: no prior experience, that doesn't mean anything. You can just 171 00:08:46,880 --> 00:08:50,640 Speaker 2: start now and just and see where the journey takes you. 172 00:08:50,640 --> 00:08:53,960 Speaker 2: You know, because you don't possess a particular skill set 173 00:08:54,080 --> 00:08:55,920 Speaker 2: right at the moment, it doesn't mean that you can. 174 00:08:56,120 --> 00:08:58,760 Speaker 2: You can't acquire it, as you you know, and there's 175 00:08:58,800 --> 00:09:01,320 Speaker 2: nothing not being able to say, play the guitar or 176 00:09:01,320 --> 00:09:04,440 Speaker 2: whatever is no barter actually starting a band. You know, 177 00:09:04,760 --> 00:09:06,720 Speaker 2: if you're going to be the guitar as well, start 178 00:09:06,720 --> 00:09:08,560 Speaker 2: in the band. Then learn to play the guitar and 179 00:09:08,600 --> 00:09:11,079 Speaker 2: hopefully you'll be good at it. I think that's what, 180 00:09:11,360 --> 00:09:13,000 Speaker 2: you know, one of the brilliant things about it, one 181 00:09:13,040 --> 00:09:14,960 Speaker 2: of the really beautiful things about that was just like 182 00:09:15,040 --> 00:09:18,720 Speaker 2: people did discover this means of expressing themselves, which maybe 183 00:09:18,720 --> 00:09:21,719 Speaker 2: they'd felt there was something that they couldn't do, and 184 00:09:22,240 --> 00:09:28,120 Speaker 2: it was it. Suddenly everything became very egalitarian, democratic, which 185 00:09:28,160 --> 00:09:30,720 Speaker 2: I think was always is always very important. 186 00:09:31,480 --> 00:09:35,160 Speaker 3: I had Danny Field on the podcast, and. 187 00:09:35,440 --> 00:09:37,120 Speaker 2: There's another guy I'd like to take a walk with. 188 00:09:37,480 --> 00:09:41,560 Speaker 4: Oh, well he would. I'm pretty sure we have a 189 00:09:41,600 --> 00:09:42,199 Speaker 4: shot at that. 190 00:09:42,320 --> 00:09:45,200 Speaker 3: If you want to follow we could follow up, because 191 00:09:45,960 --> 00:09:49,520 Speaker 3: he's a man who loves the stories, loves talking obviously 192 00:09:49,679 --> 00:09:54,320 Speaker 3: about the days with everybody lou Reed the Ramones. 193 00:09:54,840 --> 00:09:56,720 Speaker 2: Walk around New York with Daddy Fields. 194 00:09:56,800 --> 00:09:59,720 Speaker 3: Yeah, yeah, Well he looks at the way the villagers 195 00:09:59,800 --> 00:10:03,079 Speaker 3: now now and is you would expect. He kind of 196 00:10:03,160 --> 00:10:06,000 Speaker 3: looks around and goes, this is really not how I 197 00:10:06,040 --> 00:10:08,520 Speaker 3: remember it, and I don't I really like it the 198 00:10:08,559 --> 00:10:11,920 Speaker 3: way it is right now, you know, because I hear 199 00:10:12,440 --> 00:10:15,800 Speaker 3: one too many of fill in the blank, you know, 200 00:10:15,920 --> 00:10:18,600 Speaker 3: franchises that are in the neighborhood. 201 00:10:18,640 --> 00:10:20,960 Speaker 4: But so, what did the Ramones mean to you? 202 00:10:21,880 --> 00:10:25,839 Speaker 2: Oh? The Ramones were really really important. The Ramones really 203 00:10:25,920 --> 00:10:29,800 Speaker 2: kind of they kind of switched me on it. I 204 00:10:29,840 --> 00:10:33,080 Speaker 2: was at a at a summer dance and kind of 205 00:10:33,200 --> 00:10:36,240 Speaker 2: end of term dance at a at a local girls 206 00:10:36,320 --> 00:10:40,680 Speaker 2: high school to where I grew up in Golders Green 207 00:10:40,720 --> 00:10:45,959 Speaker 2: in northwest London, and and yeah, some I was aware 208 00:10:45,960 --> 00:10:48,760 Speaker 2: of the Ramones. I'd heard the remones. This is I 209 00:10:48,800 --> 00:10:51,040 Speaker 2: wasn't actually end of termined. I suppose it was. I 210 00:10:51,040 --> 00:10:53,679 Speaker 2: suppose it would have been in like towards the end 211 00:10:53,679 --> 00:10:56,280 Speaker 2: of term. So I say, June seventy six something like that, 212 00:10:56,679 --> 00:11:00,559 Speaker 2: and I'd heard the Ramones. I'd kind of given up. 213 00:11:00,920 --> 00:11:03,079 Speaker 2: I'd rather given up and reading the music papers in 214 00:11:03,160 --> 00:11:06,679 Speaker 2: those first crucial kind of first six months of seventy 215 00:11:06,720 --> 00:11:08,640 Speaker 2: six because it was just kind of stuff had just 216 00:11:08,679 --> 00:11:11,920 Speaker 2: got boring and I wasn't really really interested in reading 217 00:11:11,920 --> 00:11:13,920 Speaker 2: about the people who was reading there. Just as actually 218 00:11:13,960 --> 00:11:16,640 Speaker 2: they I decided to stop reading them just as they 219 00:11:16,720 --> 00:11:21,079 Speaker 2: started to get more interesting. But I was kind of 220 00:11:21,120 --> 00:11:24,160 Speaker 2: like occasionally obviously, like you know, I hadn't decided to 221 00:11:24,600 --> 00:11:26,520 Speaker 2: cast them out of my life or anything, but I 222 00:11:26,640 --> 00:11:28,800 Speaker 2: just stopped buying them. But I did pick up one, 223 00:11:29,000 --> 00:11:31,400 Speaker 2: you know, an M or a sounds every now and again, 224 00:11:32,040 --> 00:11:34,200 Speaker 2: and so I was aware that there was something going on. 225 00:11:34,240 --> 00:11:38,280 Speaker 2: I was aware that there was this band, the sex Pistols, 226 00:11:38,320 --> 00:11:41,000 Speaker 2: who i've for a while. I picked up the idea 227 00:11:41,000 --> 00:11:42,640 Speaker 2: that they were French. I don't know where I got 228 00:11:42,640 --> 00:11:46,959 Speaker 2: that from. And I was aware of the Ramones and 229 00:11:47,240 --> 00:11:50,200 Speaker 2: I heard I heard I Want to Be Your Boyfriend 230 00:11:51,040 --> 00:11:54,439 Speaker 2: on the job on the John Peel Show on the 231 00:11:54,520 --> 00:11:58,600 Speaker 2: radio one on the BBC. He did, yeah, the late 232 00:11:58,720 --> 00:12:02,040 Speaker 2: night show. He was a very important guy, and that 233 00:12:02,240 --> 00:12:04,440 Speaker 2: sort of it was a really kind of like cheap 234 00:12:04,559 --> 00:12:07,640 Speaker 2: shitty transistor and it was it sounded good, but I 235 00:12:07,679 --> 00:12:10,680 Speaker 2: couldn't really sort of get it. It was too crappy 236 00:12:10,679 --> 00:12:13,320 Speaker 2: a reproduction to really sort of like leaning, you know, 237 00:12:13,440 --> 00:12:15,920 Speaker 2: just actually sort of get what was going on. But sorry, 238 00:12:16,160 --> 00:12:19,800 Speaker 2: back to the dance. Somebody put on the singular blitz 239 00:12:19,800 --> 00:12:23,280 Speaker 2: creed Bop and I knew immediately what it was and 240 00:12:23,320 --> 00:12:27,680 Speaker 2: who it was, and it was just like, you know, 241 00:12:27,760 --> 00:12:29,240 Speaker 2: one of those things when you just kind of like 242 00:12:29,640 --> 00:12:32,120 Speaker 2: you just set bolt up right and you're like, what 243 00:12:32,280 --> 00:12:34,240 Speaker 2: is this? What is I mean, knowing what it is, 244 00:12:34,240 --> 00:12:36,880 Speaker 2: but it's like, you know, it was just kind of 245 00:12:36,920 --> 00:12:40,079 Speaker 2: like felt with this filled with this real sense of 246 00:12:40,559 --> 00:12:44,839 Speaker 2: urgency and excitement and that kind of just it just 247 00:12:44,960 --> 00:12:45,760 Speaker 2: kept going from there. 248 00:12:45,800 --> 00:12:49,040 Speaker 4: Really the beauty of a signature sound, right. 249 00:12:49,160 --> 00:12:51,880 Speaker 2: Yeah, yeah, yeah, there are moments for me really were 250 00:12:51,920 --> 00:12:54,320 Speaker 2: a very they they were the band that really did 251 00:12:54,400 --> 00:12:55,920 Speaker 2: it for me, that kind of like moved me off 252 00:12:55,960 --> 00:12:57,400 Speaker 2: the out of the starting blocks. 253 00:12:58,400 --> 00:13:00,600 Speaker 4: We'll be back and more the Taking a Walk Podcast 254 00:13:00,720 --> 00:13:01,959 Speaker 4: in a bit. Now. 255 00:13:02,000 --> 00:13:04,720 Speaker 3: We love recommending podcasts from time to time, and we 256 00:13:04,840 --> 00:13:07,840 Speaker 3: have one for you if you're into music. It's called 257 00:13:08,480 --> 00:13:12,559 Speaker 3: gig Gab. Labeled as the show for working musicians. It's 258 00:13:12,600 --> 00:13:16,720 Speaker 3: a fascinating and entertaining look behind the scenes as to 259 00:13:16,760 --> 00:13:19,040 Speaker 3: what it takes to put a live band on stage. 260 00:13:19,080 --> 00:13:21,760 Speaker 3: It's hosted by Dave Hamilton. If you're a fan of 261 00:13:21,840 --> 00:13:24,720 Speaker 3: live music, playing it or watching it be played, be 262 00:13:24,800 --> 00:13:29,280 Speaker 3: sure to check out gig Gab at gig gab podcast 263 00:13:29,360 --> 00:13:31,720 Speaker 3: dot com or wherever you get your podcasts. 264 00:13:36,240 --> 00:13:38,640 Speaker 1: Welcome back to the Taking a Walk Podcast. 265 00:13:39,760 --> 00:13:42,120 Speaker 4: But now, so we talk about a signature sound. 266 00:13:42,240 --> 00:13:45,520 Speaker 3: The sound of the Pogues, I mean it fuses you know, 267 00:13:45,720 --> 00:13:50,160 Speaker 3: punk energy, traditional Irish music. Can you share how that 268 00:13:50,320 --> 00:13:54,920 Speaker 3: blend sort of came about and sort of the background 269 00:13:54,960 --> 00:14:00,440 Speaker 3: on the experimentation with different genres. 270 00:13:58,920 --> 00:14:04,520 Speaker 2: It's kind of pretty simple really. There was a time 271 00:14:04,679 --> 00:14:07,160 Speaker 2: were Shane and I were round in a friend's house 272 00:14:07,760 --> 00:14:09,880 Speaker 2: and she had an acoustic guitar and he just picked 273 00:14:09,920 --> 00:14:13,439 Speaker 2: it up and he started bashing out on poor Paddy 274 00:14:13,520 --> 00:14:17,440 Speaker 2: works on the railway but doing it, which is a 275 00:14:17,480 --> 00:14:20,480 Speaker 2: song that I knew because we both had the same 276 00:14:20,560 --> 00:14:23,480 Speaker 2: Dubliners album that it was on. It was a kind 277 00:14:23,480 --> 00:14:26,480 Speaker 2: of one of these cheap o label compilations, but you know, 278 00:14:26,520 --> 00:14:29,200 Speaker 2: it was actually quite a seven Drunken Nights it was called, 279 00:14:29,240 --> 00:14:31,200 Speaker 2: and it was a very good sort of like selection 280 00:14:31,280 --> 00:14:35,000 Speaker 2: of Dublin Has songs in it. So I knew this song. 281 00:14:35,440 --> 00:14:37,960 Speaker 2: Shane obviously knew that we'd listen to it together, and 282 00:14:38,000 --> 00:14:40,440 Speaker 2: he just started doing it the way that we would 283 00:14:40,440 --> 00:14:42,360 Speaker 2: do it a couple of years further down the line, 284 00:14:42,400 --> 00:14:45,080 Speaker 2: and I just kind of like looked at him and 285 00:14:45,120 --> 00:14:47,840 Speaker 2: this just sounds absolutely brilliant. This is a really, really 286 00:14:48,680 --> 00:14:53,760 Speaker 2: a great idea, you know. And then we it was 287 00:14:53,840 --> 00:14:57,440 Speaker 2: Shane and this guy Ollie Watts, who was the drummer 288 00:14:57,560 --> 00:15:01,320 Speaker 2: in my band, The Millwall Shane source Uh, He and 289 00:15:01,360 --> 00:15:04,760 Speaker 2: Shame were in a club called Cabaret Futura, which is 290 00:15:05,000 --> 00:15:07,240 Speaker 2: not exactly a new romantic club, but it was this 291 00:15:07,360 --> 00:15:10,760 Speaker 2: kind of like sort of more sort of outrey, kind 292 00:15:10,760 --> 00:15:13,480 Speaker 2: of like, you know, kids dressing in really sort of 293 00:15:13,520 --> 00:15:18,160 Speaker 2: like weird sort of imaginative clothes, kind of like kind 294 00:15:18,160 --> 00:15:22,360 Speaker 2: of yeah, sort of post punk sort of thing. But 295 00:15:22,480 --> 00:15:27,360 Speaker 2: I know how you describe it, I just did and 296 00:15:26,800 --> 00:15:29,840 Speaker 2: uh and they sort of but they colored Richard Strange, 297 00:15:30,000 --> 00:15:32,960 Speaker 2: the guy that run it, and said, yeah, we've got 298 00:15:32,960 --> 00:15:35,880 Speaker 2: this band. We play Irish rebel songs and we're going 299 00:15:35,920 --> 00:15:38,360 Speaker 2: to be playing here next week. And he said, well, 300 00:15:38,440 --> 00:15:41,040 Speaker 2: actually I can't fit you in next week, but that 301 00:15:41,160 --> 00:15:43,760 Speaker 2: sounds kind of cool. Why don't you let's let's say, 302 00:15:44,120 --> 00:15:46,200 Speaker 2: why don't you come along a month from now and 303 00:15:46,880 --> 00:15:50,040 Speaker 2: you can play then, so it never you know. So 304 00:15:50,120 --> 00:15:52,400 Speaker 2: we did this this set of Irish rebel songs, which 305 00:15:52,520 --> 00:15:55,080 Speaker 2: I was singing, except I kind of lost my voice, 306 00:15:55,480 --> 00:16:00,160 Speaker 2: probably through nerves on the day of the show, but 307 00:16:00,240 --> 00:16:04,240 Speaker 2: I kind of did it anyway. But there was never 308 00:16:04,320 --> 00:16:06,400 Speaker 2: any sort of the only way that we've ever thought 309 00:16:06,400 --> 00:16:08,280 Speaker 2: of doing those songs was to play them, you know, 310 00:16:08,400 --> 00:16:10,760 Speaker 2: really sort of fast and hard, kind of as though 311 00:16:10,800 --> 00:16:14,200 Speaker 2: you mean them. And that just really sort of continued 312 00:16:15,440 --> 00:16:18,800 Speaker 2: into the Pogues. The idea was always to kind of 313 00:16:18,840 --> 00:16:23,560 Speaker 2: do irish stuff, but play it really fast, play it 314 00:16:23,600 --> 00:16:27,200 Speaker 2: with that sort of punk energy and everything. And of 315 00:16:27,200 --> 00:16:29,280 Speaker 2: course at the same time Shane was I mean, Shane 316 00:16:29,320 --> 00:16:32,280 Speaker 2: had already been writing songs in his band, The Nips, 317 00:16:32,320 --> 00:16:34,440 Speaker 2: and so he was a kind of tried and tested 318 00:16:34,480 --> 00:16:37,200 Speaker 2: songwriter in that regard. But then he just started coming 319 00:16:37,200 --> 00:16:40,440 Speaker 2: out on this whole track, of this whole different track, 320 00:16:40,840 --> 00:16:44,960 Speaker 2: of something of a different order entirely. And we were 321 00:16:45,040 --> 00:16:48,760 Speaker 2: just lucky enough that the especially when we acquired Andrew 322 00:16:48,800 --> 00:16:51,200 Speaker 2: Rank and you know, it took us about four or 323 00:16:51,200 --> 00:16:54,360 Speaker 2: five goals to actually get a settled drummer, but then 324 00:16:54,520 --> 00:16:57,480 Speaker 2: when we did that, we had this line up and 325 00:16:57,520 --> 00:17:04,600 Speaker 2: it just it was the alchemy in bands where you 326 00:17:04,680 --> 00:17:10,000 Speaker 2: might think that certain parts, if you examine them in isolation, 327 00:17:10,119 --> 00:17:12,639 Speaker 2: might seem to be somewhat extraneous, but in fact you 328 00:17:12,680 --> 00:17:14,560 Speaker 2: can't take anything out of it. You've got to have 329 00:17:14,600 --> 00:17:18,760 Speaker 2: everybody in there because that's how it works. That's how 330 00:17:18,800 --> 00:17:21,320 Speaker 2: it works, or at least there's a crux of a 331 00:17:21,400 --> 00:17:23,879 Speaker 2: core of people who need to be there for it 332 00:17:23,920 --> 00:17:26,320 Speaker 2: to sort of really properly operate. And we were very 333 00:17:26,400 --> 00:17:29,080 Speaker 2: lucky that we kind of stumbled on that, or those 334 00:17:29,119 --> 00:17:30,399 Speaker 2: are the people that joined the band. 335 00:17:30,960 --> 00:17:35,760 Speaker 4: So I love it. Your tin whistle playing is. 336 00:17:37,359 --> 00:17:41,040 Speaker 3: Iconic And how did you first learn the instrument and 337 00:17:41,400 --> 00:17:43,240 Speaker 3: had your approach evolved? 338 00:17:44,080 --> 00:17:49,280 Speaker 2: No, I the original idea was that myself and Shame 339 00:17:49,320 --> 00:17:52,159 Speaker 2: were going to share singing duties, and in those days 340 00:17:52,240 --> 00:17:54,679 Speaker 2: I kind of just wasn't up to it. I didn't 341 00:17:54,880 --> 00:17:58,240 Speaker 2: have the confidence to try and sing properly. A lot 342 00:17:58,240 --> 00:18:01,280 Speaker 2: of people can sing, but most people don't realize they 343 00:18:01,320 --> 00:18:04,480 Speaker 2: can sing. They don't know they can sing. And if 344 00:18:04,840 --> 00:18:07,040 Speaker 2: the idea of kind of doing it in anything like 345 00:18:07,119 --> 00:18:09,280 Speaker 2: a you know, doing it in front of an audience 346 00:18:09,359 --> 00:18:12,639 Speaker 2: is something that just freezes a lot of people. And 347 00:18:12,800 --> 00:18:15,040 Speaker 2: in fact, the way to get over that is just 348 00:18:15,080 --> 00:18:19,320 Speaker 2: to open up and let and let fly. One of 349 00:18:19,320 --> 00:18:23,600 Speaker 2: the things I really like about Ireland is that is 350 00:18:23,640 --> 00:18:25,560 Speaker 2: the notion is that notion that you know when you 351 00:18:25,560 --> 00:18:28,960 Speaker 2: have a session in a pub and it's like, basically 352 00:18:28,960 --> 00:18:30,639 Speaker 2: the idea is that everyone's going to get up and 353 00:18:30,680 --> 00:18:34,359 Speaker 2: sing a song. And it doesn't actually matter whether or 354 00:18:34,400 --> 00:18:38,320 Speaker 2: not you're technically you know, a great singer or you're 355 00:18:38,359 --> 00:18:41,440 Speaker 2: just not you know, it doesn't matter. The important thing 356 00:18:41,520 --> 00:18:43,280 Speaker 2: is that you get up and you and you do 357 00:18:43,400 --> 00:18:46,679 Speaker 2: your song, and you will hear people singing and it's like, 358 00:18:47,320 --> 00:18:50,639 Speaker 2: you know that guy there, old lady that the picture's 359 00:18:50,640 --> 00:18:52,760 Speaker 2: got a really incredible voice, you know. You just like 360 00:18:52,920 --> 00:18:57,280 Speaker 2: they're just put themselves into it. And I think I 361 00:18:57,280 --> 00:18:59,159 Speaker 2: think a lot of people are actually capable of that and 362 00:18:59,200 --> 00:19:01,840 Speaker 2: just simply don't it, which is a shame. But in 363 00:19:01,880 --> 00:19:05,520 Speaker 2: those days, I was definitely one of those. I just 364 00:19:05,640 --> 00:19:08,440 Speaker 2: kind of froze up the time. There was a time 365 00:19:08,840 --> 00:19:11,920 Speaker 2: later on in the band's story when we were asking 366 00:19:11,920 --> 00:19:15,840 Speaker 2: me about the tin whistle. Sorry, so Shane said, why 367 00:19:15,880 --> 00:19:19,080 Speaker 2: len't you learn the whistle? It's easy? He said, it's not. 368 00:19:20,280 --> 00:19:22,000 Speaker 2: It's easy to sort of pick it up and maybe 369 00:19:22,160 --> 00:19:24,880 Speaker 2: sort of play a simple tune on it. I mean, 370 00:19:25,080 --> 00:19:27,720 Speaker 2: I think the first thing I learned was Silent Night 371 00:19:27,800 --> 00:19:29,439 Speaker 2: from the play in a day book. They had all 372 00:19:29,440 --> 00:19:34,920 Speaker 2: the relevant holes marked out, so learn Oh yeah. But 373 00:19:35,840 --> 00:19:37,600 Speaker 2: the thing with that is that you know, if you 374 00:19:37,640 --> 00:19:41,840 Speaker 2: can actually achieve an instant result, which I could do, 375 00:19:42,640 --> 00:19:45,680 Speaker 2: then it really does encourage you to go and sort 376 00:19:45,680 --> 00:19:48,280 Speaker 2: of like try something a little bit more complicated. One 377 00:19:48,320 --> 00:19:50,600 Speaker 2: of the problems with the guitar was like I wanted 378 00:19:50,640 --> 00:19:54,359 Speaker 2: to be able to play it now, not like have 379 00:19:54,480 --> 00:19:56,720 Speaker 2: to sort of sit through all this business of like 380 00:19:56,840 --> 00:19:59,240 Speaker 2: you know, cutting your fingers to shreds and sort of 381 00:19:59,359 --> 00:20:04,360 Speaker 2: like forming them into our natural patterns that you know. Yeah, 382 00:20:04,359 --> 00:20:06,560 Speaker 2: I just didn't have the patience or the application much 383 00:20:06,600 --> 00:20:08,080 Speaker 2: of I regret that. 384 00:20:08,119 --> 00:20:13,080 Speaker 3: There you go, the band's storytelling style. It draws on 385 00:20:13,480 --> 00:20:20,000 Speaker 3: you real world experiences but also Irish folklore. How does 386 00:20:20,040 --> 00:20:24,840 Speaker 3: one balance personal stories with sort of mythology and songwriting 387 00:20:26,080 --> 00:20:26,760 Speaker 3: for applying a. 388 00:20:26,680 --> 00:20:30,360 Speaker 2: Bit of genius, I guess it's it's it's something that 389 00:20:30,440 --> 00:20:35,480 Speaker 2: I think it lends itself readily to the imagination. The 390 00:20:35,520 --> 00:20:37,639 Speaker 2: blending of the of the every day with the not 391 00:20:37,720 --> 00:20:41,160 Speaker 2: so every day. It's like a natural state of the form. 392 00:20:41,160 --> 00:20:44,200 Speaker 2: Does that make sense to you? The stories and the 393 00:20:44,720 --> 00:20:47,840 Speaker 2: way that the stories are told, obviously they vary from 394 00:20:47,840 --> 00:20:51,520 Speaker 2: some to son, but I think the in terms of 395 00:20:51,600 --> 00:20:54,840 Speaker 2: like if you're writing, if you look at the work 396 00:20:54,920 --> 00:20:58,440 Speaker 2: of a lot of the great Irish writers, particularly sort 397 00:20:58,440 --> 00:21:01,600 Speaker 2: of like the poets and the play rights, there's a 398 00:21:01,640 --> 00:21:06,760 Speaker 2: lot of the kind of magical stuff in there interwoven 399 00:21:06,840 --> 00:21:10,320 Speaker 2: with the every day that the everyday objects can actually 400 00:21:10,840 --> 00:21:14,000 Speaker 2: can also have a sort of some kind of extra 401 00:21:14,080 --> 00:21:18,199 Speaker 2: significance attached to them, some kind of extra power attached 402 00:21:18,200 --> 00:21:20,120 Speaker 2: to them. I think Ireland is a place that's very 403 00:21:20,200 --> 00:21:23,280 Speaker 2: full of this kind of law, this kind of this 404 00:21:23,400 --> 00:21:26,800 Speaker 2: kind of I hesitate to use the word supernatural because 405 00:21:26,960 --> 00:21:30,760 Speaker 2: it creates the wrong impression. I'm thinking more of the 406 00:21:30,800 --> 00:21:34,960 Speaker 2: sort of smaller, quieter forces of nature, but that at 407 00:21:34,960 --> 00:21:38,480 Speaker 2: the same time it's best not to sort of disturb them. 408 00:21:38,520 --> 00:21:40,840 Speaker 2: So maybe under sets I'm talking about the supernatural. But 409 00:21:41,400 --> 00:21:45,400 Speaker 2: I think it's it's something that has been that has 410 00:21:45,440 --> 00:21:48,359 Speaker 2: been held on to, and I think it's probably something 411 00:21:48,440 --> 00:21:51,919 Speaker 2: you find in a lot of particularly like rural communities 412 00:21:51,960 --> 00:21:55,280 Speaker 2: all over the world. In Ireland in contrast to maybe 413 00:21:55,800 --> 00:21:59,440 Speaker 2: other European countries, certainly, it seems to be sort of 414 00:21:59,480 --> 00:22:03,000 Speaker 2: closer to the surface. So it's something that is a 415 00:22:03,160 --> 00:22:07,080 Speaker 2: it's something that comes naturally. I think it's a tricky 416 00:22:07,080 --> 00:22:09,399 Speaker 2: one as well. It's a tricky you know, I feel 417 00:22:10,080 --> 00:22:12,679 Speaker 2: a certain you know, I'm not Irish, I don't have 418 00:22:12,760 --> 00:22:16,359 Speaker 2: that upbringing. So I'm here A lot of it is 419 00:22:16,480 --> 00:22:20,439 Speaker 2: I'm just going by sort of stuff I've picked up 420 00:22:20,640 --> 00:22:22,560 Speaker 2: and stuff i've sort of and there's a certain amount 421 00:22:22,560 --> 00:22:24,879 Speaker 2: of conjecture, but there's also a certain amount of just 422 00:22:24,920 --> 00:22:28,400 Speaker 2: like you observe and you listen and watch and yeah. 423 00:22:28,280 --> 00:22:31,439 Speaker 3: You know, so tell me how excited you are to 424 00:22:31,480 --> 00:22:35,080 Speaker 3: be hitting the road coming up here in the fall. 425 00:22:35,880 --> 00:22:39,359 Speaker 2: These these shows that we've been doing since I was 426 00:22:39,359 --> 00:22:42,720 Speaker 2: first approached by to do the what turned into the 427 00:22:42,760 --> 00:22:45,000 Speaker 2: Red Roses for Me show at Hackney Empire, which is 428 00:22:45,119 --> 00:22:47,720 Speaker 2: originally just going to be in a little folk club 429 00:22:47,720 --> 00:22:51,399 Speaker 2: over the road, and it just blew up into something 430 00:22:51,720 --> 00:22:54,960 Speaker 2: entirely different. Everything is kind of you know. The first 431 00:22:54,960 --> 00:22:57,720 Speaker 2: show was great, and we did Dublin which was fantastic. 432 00:22:58,160 --> 00:23:01,560 Speaker 2: The tour we've just done the UK for the Rummy 433 00:23:01,600 --> 00:23:04,119 Speaker 2: in the Lash I think was one of the most 434 00:23:04,200 --> 00:23:06,760 Speaker 2: in many ways, one of the most enjoyable I've ever 435 00:23:06,840 --> 00:23:10,240 Speaker 2: been on, just simply because we've got all these all 436 00:23:10,280 --> 00:23:15,359 Speaker 2: these fantastic artists, both musicians and singers. I think we're 437 00:23:15,440 --> 00:23:18,760 Speaker 2: really really doing justice to the songs. I think they're 438 00:23:18,760 --> 00:23:21,760 Speaker 2: being played in a way that really brings sort of 439 00:23:21,840 --> 00:23:24,840 Speaker 2: brings back the sort of the fire and the fire 440 00:23:24,880 --> 00:23:27,600 Speaker 2: and the fury that they kind of need being done 441 00:23:27,720 --> 00:23:30,040 Speaker 2: by people who, you know, in many cases, people who 442 00:23:30,119 --> 00:23:32,080 Speaker 2: actually sort of grown up with the band. I mean, 443 00:23:32,119 --> 00:23:35,880 Speaker 2: like Darren Lynch from lancam who's going to be one 444 00:23:35,920 --> 00:23:38,639 Speaker 2: of our guitarists on this tour, was saying, you know 445 00:23:39,119 --> 00:23:44,040 Speaker 2: when he was like getting who was learning the when 446 00:23:44,040 --> 00:23:46,360 Speaker 2: we were rehearsing sorry, when we were rehearsing for Rumsordomy 447 00:23:46,400 --> 00:23:47,520 Speaker 2: in the Lash, and he was saying, you know, like, 448 00:23:47,920 --> 00:23:50,600 Speaker 2: I've known your band since I was seven years old. 449 00:23:50,920 --> 00:23:53,120 Speaker 2: I've been playing these songs since I was about seven 450 00:23:53,200 --> 00:23:56,840 Speaker 2: years old, and I never really actually realized just how complex, 451 00:23:57,119 --> 00:24:00,639 Speaker 2: how complicated they are, because we've got all these weird arrangements, 452 00:24:00,680 --> 00:24:03,000 Speaker 2: weird sort of little chords that just pop up here 453 00:24:03,040 --> 00:24:05,919 Speaker 2: and there were people don't necessarily expect them to be, 454 00:24:06,040 --> 00:24:09,040 Speaker 2: but they are there. But the point was that he'd been, 455 00:24:09,080 --> 00:24:11,000 Speaker 2: he'd been he'd been the fan of the band since 456 00:24:11,040 --> 00:24:15,320 Speaker 2: he was seven. And that's kind of true about particularly 457 00:24:15,359 --> 00:24:17,880 Speaker 2: with regard to the Irish musicians that we've got along 458 00:24:17,880 --> 00:24:20,239 Speaker 2: with us. They've been fans of the band since they 459 00:24:20,240 --> 00:24:23,320 Speaker 2: were kids. I think that's sort of like you see 460 00:24:23,320 --> 00:24:26,600 Speaker 2: that in the in just the sheer enthusiasm that they 461 00:24:26,720 --> 00:24:30,240 Speaker 2: bring to it. I mean, the playing is stupendous, the 462 00:24:30,240 --> 00:24:35,080 Speaker 2: way that I mean, we're really lucky that we're really lucky. 463 00:24:35,160 --> 00:24:38,760 Speaker 2: One thing that Island's just had this extraordinary outpouring of 464 00:24:39,359 --> 00:24:43,800 Speaker 2: really superlative talent talent over the last sort of studying 465 00:24:43,840 --> 00:24:46,359 Speaker 2: about maybe ten years ago or whatever. And they're all 466 00:24:46,400 --> 00:24:50,240 Speaker 2: people who really love the pokes. So that's that's really 467 00:24:50,359 --> 00:24:54,240 Speaker 2: sort of like work to our advantage. But you know, 468 00:24:54,280 --> 00:24:57,960 Speaker 2: when you get somebody like like Lisa O'Neill saying A 469 00:24:58,080 --> 00:25:02,639 Speaker 2: Rainy Night in Soho is just you know, there's a 470 00:25:02,800 --> 00:25:06,600 Speaker 2: there's a part in that where the song there's a breakdown, 471 00:25:07,119 --> 00:25:10,399 Speaker 2: and we have another one of the artists we've got 472 00:25:10,400 --> 00:25:13,840 Speaker 2: with us as a her name is Iona Zadjak. She's Scottish. 473 00:25:14,000 --> 00:25:17,800 Speaker 2: She's a beautiful singer, but she also plays the Celtic heart. 474 00:25:18,280 --> 00:25:22,320 Speaker 2: Ah My shame would have just exploded if he had 475 00:25:22,440 --> 00:25:25,439 Speaker 2: If if he had seen this, he would have you know, 476 00:25:25,480 --> 00:25:27,280 Speaker 2: he wouldn't have been able to contain himself because he 477 00:25:27,280 --> 00:25:29,679 Speaker 2: would have loved it. But there's a bit in in 478 00:25:29,720 --> 00:25:31,440 Speaker 2: a Rainy Night where it all drops down and it's 479 00:25:31,520 --> 00:25:34,760 Speaker 2: just Lisa's voice and Iona's played the harp. She's you know, 480 00:25:35,440 --> 00:25:38,959 Speaker 2: And this first of all happened at rehearsals, and then 481 00:25:38,960 --> 00:25:41,400 Speaker 2: it was happening actually at the shows as well, where 482 00:25:41,600 --> 00:25:43,480 Speaker 2: other people play, would be kind of like we'll be 483 00:25:43,520 --> 00:25:46,439 Speaker 2: looking at each other sort of going, I'm not crying, 484 00:25:46,480 --> 00:25:50,440 Speaker 2: you're crying because it just it's it's so sort of like, oh, 485 00:25:51,200 --> 00:25:55,600 Speaker 2: you know, it's very very powerful. I'm really excited to 486 00:25:55,640 --> 00:25:58,080 Speaker 2: be bringing it. I could talk about it all day long. 487 00:25:58,560 --> 00:26:00,840 Speaker 2: I think people are really in for a true. 488 00:26:00,800 --> 00:26:03,720 Speaker 4: Oh I love it. That's so great. So I want 489 00:26:03,720 --> 00:26:04,119 Speaker 4: to close. 490 00:26:04,160 --> 00:26:07,719 Speaker 3: So how do you see your own musical identity evolving 491 00:26:07,840 --> 00:26:10,600 Speaker 3: now compared to the early days of the Pogues. 492 00:26:11,560 --> 00:26:14,400 Speaker 2: Well, I mean, I think as far as I'm concerned, 493 00:26:14,920 --> 00:26:17,960 Speaker 2: but keep on, keep on doing this kind of for 494 00:26:18,200 --> 00:26:22,440 Speaker 2: a few more years, and and then I guess in time, 495 00:26:23,160 --> 00:26:25,800 Speaker 2: time will take its toll, and then it will be 496 00:26:25,840 --> 00:26:28,280 Speaker 2: time to say, all right, enough is enough. But you know, 497 00:26:28,400 --> 00:26:31,360 Speaker 2: but for the moment, this is this is so good, 498 00:26:31,359 --> 00:26:33,320 Speaker 2: This is so much fun that I really don't want 499 00:26:33,320 --> 00:26:36,600 Speaker 2: to stop doing doing it just yet. We've still got 500 00:26:36,600 --> 00:26:38,880 Speaker 2: to do Foo from Grace as well, you know, and 501 00:26:38,920 --> 00:26:43,280 Speaker 2: A's the others, So please don't stop. I do my best, 502 00:26:43,320 --> 00:26:43,600 Speaker 2: not too. 503 00:26:43,960 --> 00:26:46,480 Speaker 4: Yeah, Spider, thank you so much, it's so great to 504 00:26:46,520 --> 00:26:47,720 Speaker 4: give you. I'm taking a walk. 505 00:26:47,720 --> 00:26:51,560 Speaker 2: It's an utter and I've really enjoyed myself. Thank you 506 00:26:51,640 --> 00:26:52,040 Speaker 2: very much. 507 00:26:53,480 --> 00:26:55,919 Speaker 1: Thanks for listening to this episode of the Taking a 508 00:26:55,960 --> 00:26:59,840 Speaker 1: Walk podcast. Share this and other episodes with your friends 509 00:27:00,040 --> 00:27:03,440 Speaker 1: and follow us so you never miss an episode. Taking 510 00:27:03,480 --> 00:27:07,360 Speaker 1: a Walk is available on the iHeartRadio app, Apple Podcasts, 511 00:27:07,560 --> 00:27:09,880 Speaker 1: and wherever you get your podcasts.