WEBVTT - Ep 65: Sleaford Mods

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<v Speaker 1>Loud and Quiet presents Midnight Chats.

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<v Speaker 2>Hey everybody, welcome to episode fifty six of Midnight Chats.

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<v Speaker 2>It's been a little while for me on doing these.

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<v Speaker 2>I mean, we've just launched this seventh series of the podcast,

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<v Speaker 2>having taken about a month or two off to record

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<v Speaker 2>these ten we're going to do ten. This is number

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<v Speaker 2>two of the ten. Last week we had Yannis from

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<v Speaker 2>foals On Greg interviewed here. I thought it was extremely

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<v Speaker 2>entertaining and very dry and very droll, and I enjoyed

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<v Speaker 2>that in my interviews this week it's my turn. My

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<v Speaker 2>name is Stuart Stubbs. I am the editor of Loud

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<v Speaker 2>and Quiet magazine and I host half of these podcasts.

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<v Speaker 2>Greg Cochran does the better half. And yeah, it's been

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<v Speaker 2>two months or so since I've done one, so feeling

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<v Speaker 2>a little bit rusty, certainly on the intro part. But

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<v Speaker 2>but yeah, what I mean, the big news for me,

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<v Speaker 2>and I know you're interested, is that in the interim

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<v Speaker 2>I have managed to fracture a vertebrate in my spine

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<v Speaker 2>because I was hit by a motorbike whilst on my pushbike.

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<v Speaker 2>And although I am of course saying that purely for sympathy,

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<v Speaker 2>it's also because it's it's mentioned in passing in this conversation,

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<v Speaker 2>and but we don't talk about it, so that there's

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<v Speaker 2>a there's a there's a moment when my body is

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<v Speaker 2>referred to it's sounding sexy, isn't it. There's a point

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<v Speaker 2>where my body is referred to as on the mend,

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<v Speaker 2>and that is what Jason means. Jason, of course, is

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<v Speaker 2>Jason Williams from Sleaford Mods, who is tonight's guest, and

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<v Speaker 2>we've tagged this as Sleaford Mods. And Jason is only

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<v Speaker 2>half of that duo. Andrew Fern is the other member

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<v Speaker 2>of the group, but Andrew doesn't really do much press.

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<v Speaker 2>It is always Jason. Jason is the spokesperson and that's

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<v Speaker 2>the way they like it. Jason's a very good talker,

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<v Speaker 2>as you're about to hear. I met him a couple

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<v Speaker 2>of years ago when they were about to release English Tapas,

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<v Speaker 2>and we recorded this episode when they were just about

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<v Speaker 2>to release Eton Alive eaton spelt as in the Posh

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<v Speaker 2>School Eton. It's out now, go and check it out.

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<v Speaker 2>It's a great record. I'm guessing you know Sleaford Mods.

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<v Speaker 2>Maybe you've come to this podcast for the first time,

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<v Speaker 2>because it is a Sleaford Mods episode. If you don't

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<v Speaker 2>know them, though, please do hunt them down. They've got

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<v Speaker 2>around almost eleven records out there, some super early ones

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<v Speaker 2>where Jason was doing it on his own, but the

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<v Speaker 2>band really kind of clicked and took off when he

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<v Speaker 2>teamed up with Andrew, who created all of the beats,

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<v Speaker 2>and Jason is the poet, shall we say of the duo.

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<v Speaker 2>I'm not going to try and describe the sound of

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<v Speaker 2>Sleaford Mods, because no I will. I'm going to it's

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<v Speaker 2>rudimentary beats and Jason shouting a lot of the time,

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<v Speaker 2>swearing quite badly about the state of society. So this

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<v Speaker 2>was recorded just before Eating and Live came out, and

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<v Speaker 2>I think from I don't keep up with things once

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<v Speaker 2>they come out very well, but I think it's going

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<v Speaker 2>well by all accounts, I think it's gone down very well.

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<v Speaker 2>We gave it a very good review in Loud and

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<v Speaker 2>Quiet that reviews on our website. If you want to

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<v Speaker 2>read it, it's a real deep dive. It's about fourteen

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<v Speaker 2>hundred words into that record. I think it is a

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<v Speaker 2>very well and review. So this is myself and Jason

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<v Speaker 2>having a very informal conversation recorded at a little earlier

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<v Speaker 2>this year. I hope you enjoy it. Please do subscribe

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<v Speaker 2>if you are coming to us for the first time.

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<v Speaker 2>We've got another eight of these in this series and

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<v Speaker 2>we've got some very good guests coming up. But for now,

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<v Speaker 2>this is Jason Williamson from Sleaford Mods on Midnight Chats

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<v Speaker 2>number sixty five. It would have been two years ago

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<v Speaker 2>that we met.

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<v Speaker 3>It was about the same time.

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<v Speaker 2>Yeah, it was just before English taps. It was just

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<v Speaker 2>about to come out and we met in that kind

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<v Speaker 2>of the I guess that was like the indie cinema

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<v Speaker 2>of Nottingham, right it was, yeah, the one that it is.

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<v Speaker 3>Yeah it is, yes, good cinema Broadway.

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<v Speaker 2>Yeah. Are you much of a film guy? Yes?

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<v Speaker 1>Uh yeah.

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<v Speaker 3>I love them, But I like trashy films, you know,

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<v Speaker 3>crap films. Okay, I'm not a big artie film person,

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<v Speaker 3>but I do. I do like a good artie film

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<v Speaker 3>if it's if it's put in front of me, I

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<v Speaker 3>will watch it, and generally they are really good. But

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<v Speaker 3>I seek out cheap entertainment mostly or good horror. You

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<v Speaker 3>know what I mean.

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<v Speaker 2>What's what's what constitutes a good like crappy trash film for.

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<v Speaker 3>You, anything with lots of guns in merciless violence, normally

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<v Speaker 3>a dysfunctional detective. You know that kind of thing. You know,

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<v Speaker 3>they're always good good fight scenes, uh, you know, really

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<v Speaker 3>bad villains, sadistic villains and yeah, stuff like things films

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<v Speaker 3>like Face Off, Face Off, fantastic.

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<v Speaker 2>Face Off comes Home because we had backster jury on

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<v Speaker 2>the podcast like last year. Yeah, I don't know how

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<v Speaker 2>we ended up talking about Face Off quite a.

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<v Speaker 3>Bit, okay, And is he a fan of it as well?

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<v Speaker 2>He is a f He was trying to get his

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<v Speaker 2>son to watch it. He was like, sit down, this

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<v Speaker 2>film's on TV. You're gonna love this.

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<v Speaker 3>I can't believe that.

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<v Speaker 2>His son, I think, is about fifty Yeah, yeah, yeah, yeah,

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<v Speaker 2>And he was like, this is the ship's film ever, Dad, Yeah,

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<v Speaker 2>because of course it is. If you just see it

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<v Speaker 2>for the first time, now, it's no good at all.

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<v Speaker 3>No, it's it's terrible. It's aged terribly, I think, yeah,

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<v Speaker 3>because it was on TV the other week and it

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<v Speaker 3>has it's really aged badly. Nicholas Cage at times is

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<v Speaker 3>a bit scary, but apart from that, it's pretty bad.

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<v Speaker 3>Johnsh Rolt really bad.

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<v Speaker 2>Have you seen any good trash recently?

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<v Speaker 3>Good trash? I watched the new version of what is it?

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<v Speaker 3>You know, The Deaf Wish with Bruce Willis as Charles Bronson.

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<v Speaker 2>Okay, it was okay, Bruce Willis is playing Charles Bonson. Yeah, okay.

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<v Speaker 2>Have you seen the Tom Hardy one?

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<v Speaker 3>No, which, what's that?

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<v Speaker 2>Just called Bronson?

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<v Speaker 3>I think, oh that's brilliant. Yeah yeah, yeah, that's Tom Hardy.

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<v Speaker 3>But Bronson's the actual the prison guy, isn't it. Yes, yeah,

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<v Speaker 3>I'm talking about the famous uh you know, you've not

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<v Speaker 3>seen it Deaf Wish with Charles Bronson in You've not

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<v Speaker 3>seen it? That's the seventies thing where you know, his

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<v Speaker 3>wife gets murdered by some intruders. Okay, he goes around,

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<v Speaker 3>you know, basically takes the law into his own house,

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<v Speaker 3>goes out at night shooting villains.

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<v Speaker 2>And they made it with Bruce Willis.

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<v Speaker 3>Yeah, okay, and it's not actually that bad, to be honest.

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<v Speaker 3>I mean, Bruce Willis is playing his kind of die

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<v Speaker 3>hard character.

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<v Speaker 2>In a bloodstained fair.

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<v Speaker 3>Yeah, you know when he shoots the bullet, that expression

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<v Speaker 3>on his face like it's like, oh here we go.

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<v Speaker 3>But yeah, but Bronson with the thing in is brilliant.

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<v Speaker 2>So two years ago we met there and kind of

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<v Speaker 2>straight after that, English Tappers came out and then my

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<v Speaker 2>memory from around that time is watching you on TV

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<v Speaker 2>at Glastonbury when Lord Buckethead introduced you, which was quite

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<v Speaker 2>an inspired thing to come out. And how did that

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<v Speaker 2>come about? Was that your idea?

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<v Speaker 3>He asked us. On the way down there, we got

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<v Speaker 3>a text message from I think it was from his Manager's.

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<v Speaker 2>Got a manager.

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<v Speaker 3>Yeah, I got an email from his manager asking if

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<v Speaker 3>he could come on, and we said yeah, I thought

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<v Speaker 3>it was quite funny. We didn't think it was quite funny.

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<v Speaker 3>And he turned up and he's all right, that's really

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<v Speaker 3>really thank you for let me do this, and he

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<v Speaker 3>went out and just commanded the stage. I thought it

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<v Speaker 3>was quite good. Yeah, it was quite funny.

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<v Speaker 2>I suppose we probably should explain to anyone listening maybe

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<v Speaker 2>from overseas, Lord Buckethead. There's a guy who ran against

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<v Speaker 2>Prime Minister to resume constituency to try and win her

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<v Speaker 2>seat in the election two years ago. And he wears

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<v Speaker 2>a bucket on his head dress like a space mode.

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<v Speaker 2>He's kind of like a budget Darfader, isn't he.

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<v Speaker 3>Yeah, basically.

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<v Speaker 2>But he was very funny and for a short time

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<v Speaker 2>around that time he was quite a star, like an

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<v Speaker 2>internet star here, wasn't he. Yeah? Yeah, And then he

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<v Speaker 2>did that and that was kind of a bit of

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<v Speaker 2>a thing that kind of people were like talking about

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<v Speaker 2>that a lot.

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<v Speaker 3>Yeah.

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<v Speaker 2>Yeah, in the music world especially.

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<v Speaker 3>It was the pictures of him that stood there with

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<v Speaker 3>Uriza May and everyone. It was just the absolute absurdity

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<v Speaker 3>of it.

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<v Speaker 2>Yeah, and he was he dabbed, He got about they

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<v Speaker 2>when they said his like vote cow, which was sixty people. Yeah, yeah,

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<v Speaker 2>I remember he dabbed. And there was a great shot

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<v Speaker 2>of Teresa May with him stood in the background. I

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<v Speaker 2>think it was while she was giving her kind of

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<v Speaker 2>winning acceptance, and behind her there was Lord Bucket. There

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<v Speaker 2>was a guy dressed as Elmo as well.

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<v Speaker 3>Yeah there was, Yeah, but he no one.

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<v Speaker 2>Gave him a looking because the guy next, the guy

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<v Speaker 2>with a bucket on his head, became the star. I

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<v Speaker 2>guess it was more it was.

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<v Speaker 3>More funnier, I think, yeah.

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<v Speaker 2>Yeah, it's during moments like that when I am really

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<v Speaker 2>proud to be British. The British sense of humor really

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<v Speaker 2>really it really does something, isn't it.

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<v Speaker 3>We just made the idea of politics so absurd. And

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<v Speaker 3>it just when I saw that and the way Tresmay

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<v Speaker 3>was just stood there trying to be polite, and I

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<v Speaker 3>just thought, this is it. It's just so absurd. This

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<v Speaker 3>is our country. This is the system. You know, the

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<v Speaker 3>system allows this, you know what I mean, it can't

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<v Speaker 3>stop this. You know.

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<v Speaker 2>How was that Glastonbury show? From what you remember, you

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<v Speaker 2>played You're on the park stage.

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<v Speaker 3>I think, yeah, I didn't enjoy it much. It was

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<v Speaker 3>all right. I mean there were more people there than

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<v Speaker 3>the last time we played, but last time we played

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<v Speaker 3>was better. I think I'm not sure if the performance

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<v Speaker 3>was great. Were you in the tent before, yes, And

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<v Speaker 3>I was really nervous this time around. I don't know why,

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<v Speaker 3>because we've done tons of gigs running up to it,

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<v Speaker 3>so I was, you know, we were well oiled, but

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<v Speaker 3>I just halfway through the gig, I lost it. I

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<v Speaker 3>didn't feel connected to it. I didn't think it was

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<v Speaker 3>and I started thinking that I'm not enjoying this. You know.

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<v Speaker 3>I think we carried it off. It was all right, Yeah,

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<v Speaker 3>I just on TV. I just didn't think. I just

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<v Speaker 3>didn't enjoy the rest of it. To be honest, but

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<v Speaker 3>saying that, you know, we got a good response, and

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<v Speaker 3>you know that's the name of the game, isn't it.

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<v Speaker 2>You know, yeah, exactly. It was great. I think it

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<v Speaker 2>was great to be watching that at home on TV. Yeah,

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<v Speaker 2>it was just great in and of itself. I think,

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<v Speaker 2>you know, just to see sleeferd Mods on the BBC, Yeah,

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<v Speaker 2>and introduced by a man with a bucket on his heage,

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<v Speaker 2>Yeah yeah, yeah.

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<v Speaker 3>Yeah.

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<v Speaker 2>Then going on to do your thing was quite you

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<v Speaker 2>know those things when they happen on TV, you kind

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<v Speaker 2>of feel like you're this little thing is infiltrating the

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<v Speaker 2>wider world a bit. Yeah.

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<v Speaker 3>Yeah, definitely dream come true. Really, you know, everyone wants

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<v Speaker 3>to play at Glass, be on the TV with it,

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<v Speaker 3>and to not only play there, but to play in

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<v Speaker 3>front of a big crowd. You know, it's a dream

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<v Speaker 3>come true. But you know the reality of these things is,

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<v Speaker 3>you know, sometimes you just don't enjoy it, or it

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<v Speaker 3>doesn't it doesn't turn out to be the thing that

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<v Speaker 3>you thought it would be.

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<v Speaker 2>Is Glastonbury good to do as a as a performer,

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<v Speaker 2>as an artist.

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<v Speaker 3>Yeah it is, Yeah, it is, because it's essential really,

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<v Speaker 3>because it's you know, it's kind of the only festival. Well,

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<v Speaker 3>it's not the only festival that films it, but if

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<v Speaker 3>you do Glastonbury then you're going to be on TV.

0:12:37.040 --> 0:12:39.280
<v Speaker 3>You're on the BBC, you know. So it's just as

0:12:39.280 --> 0:12:41.960
<v Speaker 3>good as getting on Jewels Olen really, and everyone wants

0:12:42.000 --> 0:12:43.800
<v Speaker 3>to try and get on Jewels Olen because it's the

0:12:43.840 --> 0:12:45.920
<v Speaker 3>only TV you know. Have you done that? Yes?

0:12:46.160 --> 0:12:46.360
<v Speaker 2>Yeh.

0:12:47.080 --> 0:12:49.000
<v Speaker 3>So and they won't let us back on because they

0:12:49.080 --> 0:12:51.640
<v Speaker 3>only let you go on once really, unless of course

0:12:52.280 --> 0:12:56.880
<v Speaker 3>you're a massive big name yeah or hugely popular you

0:12:56.880 --> 0:13:00.800
<v Speaker 3>know or whatever. So so yeah, there's only that, and

0:13:00.840 --> 0:13:03.720
<v Speaker 3>then there's the soccer. Am I think they.

0:13:03.760 --> 0:13:05.120
<v Speaker 2>Oh yeah, have you done that?

0:13:05.280 --> 0:13:07.560
<v Speaker 3>No, because we're not in football, And I don't know

0:13:07.559 --> 0:13:10.680
<v Speaker 3>if you have to have some connection to football, but I.

0:13:10.559 --> 0:13:14.280
<v Speaker 2>Think you probably have to. Yeah, you know, probably too.

0:13:14.480 --> 0:13:14.680
<v Speaker 3>Yeah.

0:13:15.000 --> 0:13:17.480
<v Speaker 2>Did you see Richard Ashcraft on it last year?

0:13:17.600 --> 0:13:18.440
<v Speaker 3>Oh? It was pretty bad?

0:13:18.480 --> 0:13:21.360
<v Speaker 2>Wondering it It was bad, but it wasn't It wasn't as

0:13:21.440 --> 0:13:23.839
<v Speaker 2>bad as him on BBC Breakfast.

0:13:23.920 --> 0:13:25.000
<v Speaker 3>Oh that was really bad.

0:13:25.320 --> 0:13:27.040
<v Speaker 2>That was I was showing a friend of mine that

0:13:27.120 --> 0:13:29.320
<v Speaker 2>at Christmas. He hadn't seen it. He's a big he

0:13:29.400 --> 0:13:31.680
<v Speaker 2>was a big fan of the Verve back in the day. Yeah,

0:13:31.720 --> 0:13:34.160
<v Speaker 2>he had to ask me to stop showing him.

0:13:34.480 --> 0:13:34.720
<v Speaker 3>Yeah.

0:13:35.040 --> 0:13:37.559
<v Speaker 2>Yeah, it was destroying his childhood hero.

0:13:37.760 --> 0:13:40.240
<v Speaker 3>You know. Yeah, it was really bad. I mean yeah,

0:13:40.320 --> 0:13:42.440
<v Speaker 3>I mean because he was kind of laid down, wasn't he?

0:13:42.480 --> 0:13:45.080
<v Speaker 3>And yeah, I'm a rock star and all this, and

0:13:45.240 --> 0:13:46.480
<v Speaker 3>I don't know, you know, I thought, well, if he

0:13:46.520 --> 0:13:47.880
<v Speaker 3>wants to be like that, let him be like that.

0:13:47.960 --> 0:13:51.640
<v Speaker 3>But I think overall it wasn't good. It didn't look good.

0:13:52.280 --> 0:13:53.559
<v Speaker 3>I don't know if you looked just to look a

0:13:53.559 --> 0:13:56.000
<v Speaker 3>bit desperate in it, and well, I don't know if

0:13:56.080 --> 0:13:57.880
<v Speaker 3>desperate is the right word. It just looked crap.

0:14:00.760 --> 0:14:03.439
<v Speaker 2>That's the that's the best way to describe it. Yeah,

0:14:03.520 --> 0:14:06.000
<v Speaker 2>I think that's right. When you go on like Jewels,

0:14:07.040 --> 0:14:10.559
<v Speaker 2>do they have any issue with your lyrical content the

0:14:10.640 --> 0:14:11.480
<v Speaker 2>language of your song?

0:14:11.720 --> 0:14:15.160
<v Speaker 3>They know, well, they sort of said, look you I said,

0:14:15.640 --> 0:14:17.920
<v Speaker 3>you know, we said we want to do Job Seeker,

0:14:18.640 --> 0:14:22.040
<v Speaker 3>and the single at the time, which was no One's

0:14:22.120 --> 0:14:25.560
<v Speaker 3>Bothered and there was no swearing in no One's bothered,

0:14:25.600 --> 0:14:27.240
<v Speaker 3>so that was fine. A Job Seeker had loads of

0:14:27.280 --> 0:14:29.480
<v Speaker 3>it in. But we wanted to do Job Seeker and

0:14:29.520 --> 0:14:32.400
<v Speaker 3>they said yes, which surprised us. But we had to

0:14:32.440 --> 0:14:34.400
<v Speaker 3>do it after the is It the Watershed and the

0:14:34.680 --> 0:14:37.240
<v Speaker 3>nine o'clock thing, so we had to do it after that,

0:14:38.040 --> 0:14:40.600
<v Speaker 3>which we did and it went down a storm. You know,

0:14:41.320 --> 0:14:43.560
<v Speaker 3>it's a real and he put it in his top

0:14:43.600 --> 0:14:46.480
<v Speaker 3>ten of all time favorite bands on there, which I

0:14:46.520 --> 0:14:47.600
<v Speaker 3>thought was quite something.

0:14:47.800 --> 0:14:50.520
<v Speaker 2>Maybe you will get invite it back, do know, be nice?

0:14:51.000 --> 0:14:53.240
<v Speaker 2>You are probably one of the few bands that can

0:14:53.280 --> 0:14:56.480
<v Speaker 2>go on that show in it and be safe that

0:14:56.560 --> 0:14:59.600
<v Speaker 2>Jewels won't do some boogie woogie piano over your music.

0:14:59.840 --> 0:15:01.560
<v Speaker 3>No, I don't think he would.

0:15:01.840 --> 0:15:04.240
<v Speaker 2>I mean I couldn't imagine that collaboration.

0:15:04.800 --> 0:15:07.640
<v Speaker 3>No, I mean he probably I probably think I'm going

0:15:07.720 --> 0:15:09.600
<v Speaker 3>to try this because it might be a challenge, but

0:15:10.360 --> 0:15:13.480
<v Speaker 3>I don't know. I can't see that happening, to be honest.

0:15:14.040 --> 0:15:16.200
<v Speaker 2>Yeah. One thing I always think about those kind of

0:15:16.400 --> 0:15:21.080
<v Speaker 2>big TV performances, whether it's Glastonbury or Jewels anything, is

0:15:21.120 --> 0:15:25.600
<v Speaker 2>do you notice like the power of them, like in

0:15:25.640 --> 0:15:28.800
<v Speaker 2>the sense of once you did Glastonbury, did you do

0:15:28.880 --> 0:15:33.240
<v Speaker 2>you notice how many people start, you know, following your

0:15:33.280 --> 0:15:36.680
<v Speaker 2>social channels or streaming your music records? Is there like

0:15:36.720 --> 0:15:39.600
<v Speaker 2>a noticeable spike there is?

0:15:39.720 --> 0:15:42.960
<v Speaker 3>I mean back then it was Twitter, I mean Instagram

0:15:43.080 --> 0:15:46.640
<v Speaker 3>was still in its early stages, right, But Twitter back

0:15:46.640 --> 0:15:51.600
<v Speaker 3>then you just noticed and obviously on Facebook as well,

0:15:52.480 --> 0:15:58.280
<v Speaker 3>but yeah, mainly Twitter, it kind of lit up, especially

0:15:58.320 --> 0:16:01.520
<v Speaker 3>as it was in the top five of the most

0:16:01.600 --> 0:16:05.680
<v Speaker 3>watch right or something. We were just below is it

0:16:05.720 --> 0:16:10.400
<v Speaker 3>del Alama? It's just fantastic and then it was us

0:16:10.480 --> 0:16:13.240
<v Speaker 3>So so yeah, you do notice the difference.

0:16:13.320 --> 0:16:16.320
<v Speaker 2>Yeah, looking back, how how did English Tapas go for you?

0:16:16.360 --> 0:16:17.760
<v Speaker 2>It looked like it went very well.

0:16:17.960 --> 0:16:20.800
<v Speaker 3>It was good. It was the best album today, you know,

0:16:21.040 --> 0:16:25.400
<v Speaker 3>sales wise and reach sh it. Yeah, we really did

0:16:25.400 --> 0:16:28.720
<v Speaker 3>well with it. You know, it was a popular album

0:16:28.920 --> 0:16:34.040
<v Speaker 3>and you know, we were worried that it will get criticized.

0:16:34.080 --> 0:16:36.040
<v Speaker 3>I mean I thought it was strong, but it went

0:16:36.080 --> 0:16:37.960
<v Speaker 3>down well with critically as well.

0:16:38.000 --> 0:16:41.360
<v Speaker 2>You know, I remember saying that like at the time,

0:16:41.800 --> 0:16:43.480
<v Speaker 2>like you weren't sure how it was going to go

0:16:43.560 --> 0:16:47.320
<v Speaker 2>because you were fully prepared to accept that key markets

0:16:47.360 --> 0:16:49.320
<v Speaker 2>had been would be well that's the peak.

0:16:49.720 --> 0:16:51.120
<v Speaker 3>Yeah, it's interesting to say that.

0:16:51.360 --> 0:16:54.840
<v Speaker 2>It's interesting. Yeah, you're like, well that's we've kind of

0:16:54.840 --> 0:16:57.280
<v Speaker 2>done that now, so where wh where is there to go?

0:16:57.480 --> 0:16:59.600
<v Speaker 3>You know, well it turned out wrong, didn't that? You

0:16:59.640 --> 0:17:01.960
<v Speaker 3>know what I mean? English tap has became a commercial

0:17:02.400 --> 0:17:06.000
<v Speaker 3>breakthrough almost whereas I thought before Key Markis and Dividing

0:17:06.080 --> 0:17:12.000
<v Speaker 3>Exit were breakthroughs, but perhaps breakthroughs in the sense of awareness,

0:17:12.080 --> 0:17:15.840
<v Speaker 3>you know, growing awareness. But I think in English Tap

0:17:15.880 --> 0:17:17.840
<v Speaker 3>has but brought us into a whole new arena, you

0:17:17.880 --> 0:17:18.320
<v Speaker 3>know what I mean.

0:17:19.040 --> 0:17:23.000
<v Speaker 2>And how then do you feel about the forthcoming record

0:17:23.040 --> 0:17:24.280
<v Speaker 2>Eating Alive Again?

0:17:24.359 --> 0:17:27.040
<v Speaker 3>I'd say the same thing. I'm going to say the

0:17:27.080 --> 0:17:32.760
<v Speaker 3>same thing that perhaps we've reached a peak, but I.

0:17:32.640 --> 0:17:36.280
<v Speaker 2>Don't know you've improved wrong before now I have, thank.

0:17:36.080 --> 0:17:45.240
<v Speaker 3>You, it's still growing, you know, and I think, I

0:17:45.280 --> 0:17:47.440
<v Speaker 3>don't know. I worry that because we've left Rough Trade

0:17:47.440 --> 0:17:52.920
<v Speaker 3>in the infrastructure, that perhaps this album won't get seen

0:17:53.040 --> 0:17:57.480
<v Speaker 3>by as many people. But you know, I think we've

0:17:57.480 --> 0:17:59.840
<v Speaker 3>got a campaign up to scratch really in the UK

0:18:00.240 --> 0:18:03.840
<v Speaker 3>and to a certain degree in Europe, although Rough Trade

0:18:03.880 --> 0:18:06.760
<v Speaker 3>were great with the local radio stations and stuff. And

0:18:06.800 --> 0:18:10.720
<v Speaker 3>I'm not sure if we've managed to infiltrate those ends

0:18:10.760 --> 0:18:16.800
<v Speaker 3>of the branches, you know. But but yeah, I'm hoping

0:18:16.880 --> 0:18:22.520
<v Speaker 3>it will, you know, maintain our position and you know

0:18:24.800 --> 0:18:26.560
<v Speaker 3>we were allowed to carry on doing it, you know

0:18:26.600 --> 0:18:28.720
<v Speaker 3>what I mean. Yeah, I don't want it to drop

0:18:28.800 --> 0:18:32.280
<v Speaker 3>because I don't think it should. The record's really strong.

0:18:33.800 --> 0:18:36.680
<v Speaker 3>It's still it's still up there, you know what I mean.

0:18:37.119 --> 0:18:41.040
<v Speaker 3>There's not a lot that can match it in my opinion. Still,

0:18:41.720 --> 0:18:44.840
<v Speaker 3>so so yeah, there's no reason why we can't hang

0:18:44.880 --> 0:18:46.040
<v Speaker 3>around for a while longer.

0:18:46.200 --> 0:18:49.400
<v Speaker 2>Yeah, yeah, sure so And as you say, you've left

0:18:49.480 --> 0:18:52.399
<v Speaker 2>rough trade, Yes, set up on your own huh. And

0:18:52.440 --> 0:18:55.800
<v Speaker 2>the label it's got a great name, Extreme Eating. Yeah,

0:18:56.280 --> 0:18:57.600
<v Speaker 2>where did that? Where did that come from?

0:18:57.840 --> 0:18:59.960
<v Speaker 3>Well, it's just a private joke for me and Andrew,

0:19:00.080 --> 0:19:04.639
<v Speaker 3>you know, we we had We was on flying somewhere

0:19:04.680 --> 0:19:06.600
<v Speaker 3>one day and just talking about you know at night

0:19:06.640 --> 0:19:08.480
<v Speaker 3>where you can't be bothered to fix on it to

0:19:08.560 --> 0:19:12.960
<v Speaker 3>eat and you're right, you just go to the fridge

0:19:12.960 --> 0:19:15.399
<v Speaker 3>with a spoon and just get some a spoon of

0:19:15.440 --> 0:19:20.680
<v Speaker 3>marmite or a spoon of tomatoes. It was like extreme

0:19:20.840 --> 0:19:23.120
<v Speaker 3>in it, like extream eating, isn't it. And we were

0:19:23.160 --> 0:19:26.600
<v Speaker 3>just laughing about that. So that's where that came from.

0:19:27.119 --> 0:19:31.119
<v Speaker 2>It's a great name, yeah it is. Have you got

0:19:31.320 --> 0:19:34.200
<v Speaker 2>have you got a logo a company label logo?

0:19:34.960 --> 0:19:38.040
<v Speaker 3>Yes we have. And it's just a teaspoon with whatever

0:19:38.119 --> 0:19:39.720
<v Speaker 3>condoment on top of it, you know.

0:19:40.040 --> 0:19:43.480
<v Speaker 2>Ok. So, so yeah, so with extreme eating and you

0:19:45.200 --> 0:19:48.000
<v Speaker 2>enjoying that. Are you enjoying the We spoke about a

0:19:48.040 --> 0:19:51.320
<v Speaker 2>little bit before, just before we started recording, but having

0:19:51.320 --> 0:19:54.880
<v Speaker 2>a label you and Andrew just doing everything, Yeah, that's

0:19:54.920 --> 0:19:56.000
<v Speaker 2>the that's the thing.

0:19:56.600 --> 0:19:59.200
<v Speaker 3>Yeah, to a certain degree, we got just we're working

0:19:59.200 --> 0:20:04.400
<v Speaker 3>with Cargo Record and they're doing the distribution and they've

0:20:04.440 --> 0:20:10.960
<v Speaker 3>been brilliant. Alongside that, we unfortunately party company with our manager.

0:20:11.040 --> 0:20:15.080
<v Speaker 3>So at the minute, my wife Claire is overlooking that

0:20:15.200 --> 0:20:18.520
<v Speaker 3>side of things. Obviously we've bought in all the pr

0:20:18.680 --> 0:20:24.160
<v Speaker 3>and marketing and stuff through Clear and Yes, so between

0:20:24.320 --> 0:20:27.760
<v Speaker 3>all of those people, the you know, the campaign's going.

0:20:28.160 --> 0:20:32.120
<v Speaker 3>You know, you don't see you forget how the reason

0:20:32.160 --> 0:20:35.280
<v Speaker 3>why labels are so prominent on the landscape, you know,

0:20:35.600 --> 0:20:38.639
<v Speaker 3>is because they have got that there the infrastructure, and

0:20:38.640 --> 0:20:42.040
<v Speaker 3>they've got the the connections and the know how. And

0:20:41.800 --> 0:20:45.720
<v Speaker 3>then this is how you you know, you pedal up

0:20:46.880 --> 0:20:49.000
<v Speaker 3>interesting albums, you know what I mean. We're not a

0:20:49.040 --> 0:20:53.240
<v Speaker 3>buzz band anymore, so you know, you have to to

0:20:53.280 --> 0:20:58.639
<v Speaker 3>a certain degree your take your music to people. People

0:20:58.640 --> 0:21:01.080
<v Speaker 3>don't necessarily come to you anymore, you know what I mean.

0:21:02.160 --> 0:21:04.680
<v Speaker 2>But at the same time, I suppose sleep and mods

0:21:04.760 --> 0:21:08.760
<v Speaker 2>have got this fan base that is from the outside,

0:21:08.800 --> 0:21:13.639
<v Speaker 2>at least looking in, it looks really dedicated and big,

0:21:13.800 --> 0:21:16.800
<v Speaker 2>pretty big, like you know, you play big shows, play

0:21:16.880 --> 0:21:21.920
<v Speaker 2>like the Roundhouse. Yeah, and there's something in that now.

0:21:22.040 --> 0:21:25.199
<v Speaker 2>I think with you guys that you can imagine that

0:21:25.800 --> 0:21:27.960
<v Speaker 2>they're going to buy your record, Like, regardless of who's

0:21:27.960 --> 0:21:30.199
<v Speaker 2>releasing it, they're going to know they're going to come

0:21:30.240 --> 0:21:32.879
<v Speaker 2>and see your show. They know, they follow channels and

0:21:32.920 --> 0:21:36.600
<v Speaker 2>all that stuff. So I don't see. I think it's

0:21:36.640 --> 0:21:38.359
<v Speaker 2>going to work. I've got a good feeling.

0:21:38.720 --> 0:21:41.200
<v Speaker 3>Yeah, I think it will. You know, I definitely did.

0:21:41.960 --> 0:21:44.000
<v Speaker 3>I didn't a few, you know, a month ago, but

0:21:45.200 --> 0:21:48.280
<v Speaker 3>we now. I feel really confident about it. And it's

0:21:48.320 --> 0:21:50.760
<v Speaker 3>been a learning curve for all of us, as you know.

0:21:51.080 --> 0:21:53.600
<v Speaker 3>And I know it sounds probably to people listening like

0:21:55.280 --> 0:21:57.560
<v Speaker 3>just a bit shut up, but this is our it

0:21:57.800 --> 0:22:00.280
<v Speaker 3>is you know, in professional bands, it's like when you

0:22:00.280 --> 0:22:02.840
<v Speaker 3>get to a point you work hard to get your

0:22:02.840 --> 0:22:06.760
<v Speaker 3>band to a certain level, and you know, there's no

0:22:06.840 --> 0:22:09.440
<v Speaker 3>reason why we shouldn't stay at that level. The music's

0:22:09.520 --> 0:22:13.439
<v Speaker 3>not crap. You know, we haven't turned into wankers. There

0:22:13.520 --> 0:22:15.600
<v Speaker 3>is no reason why we shouldn't. So I'm not going

0:22:15.680 --> 0:22:18.560
<v Speaker 3>to let that drop, you know what I mean, No

0:22:18.640 --> 0:22:19.680
<v Speaker 3>way had.

0:22:19.600 --> 0:22:23.919
<v Speaker 2>A question on extreme eating generally speaking to you. I

0:22:23.920 --> 0:22:26.560
<v Speaker 2>say this as we're eating sweet potato fries, so it

0:22:26.640 --> 0:22:29.440
<v Speaker 2>kind of answers my question. Are you a healthy eater?

0:22:29.880 --> 0:22:32.880
<v Speaker 3>Yeah? Sort of. I mean I still eat red meat,

0:22:33.680 --> 0:22:38.280
<v Speaker 3>still eat chips, fried stuff, but I don't drink or

0:22:38.280 --> 0:22:41.360
<v Speaker 3>take drugs anymore so, and I exercise every day.

0:22:41.640 --> 0:22:45.040
<v Speaker 2>Yeah, you go to the gym, right, Yeah, so I

0:22:45.119 --> 0:22:48.280
<v Speaker 2>joined a gym last year despite this figure that you

0:22:48.320 --> 0:22:49.520
<v Speaker 2>see sat beside you.

0:22:49.680 --> 0:22:52.240
<v Speaker 3>Well, it's one that's on the men, which is important.

0:22:51.960 --> 0:22:56.520
<v Speaker 2>That's true. Yeah. Yeah, I'm injured, but I'm struggling to

0:22:56.560 --> 0:22:59.320
<v Speaker 2>get into gym. We've got. There's a really kind of

0:22:59.640 --> 0:23:03.000
<v Speaker 2>box stand a gym next to our office, and it's

0:23:03.040 --> 0:23:07.119
<v Speaker 2>really cheap. It's like nineteen quid a month. And I

0:23:07.200 --> 0:23:11.040
<v Speaker 2>joined maybe this time last year, and I was trying

0:23:11.040 --> 0:23:12.720
<v Speaker 2>to get into it. But I think my problem is

0:23:12.760 --> 0:23:14.359
<v Speaker 2>I don't know what the fuck I'm doing in there.

0:23:15.160 --> 0:23:16.960
<v Speaker 2>No one's told me what any of the stuff does?

0:23:17.000 --> 0:23:19.359
<v Speaker 2>You know? And I feel I might need some of that.

0:23:19.400 --> 0:23:21.320
<v Speaker 2>I don't know how many times to do a rep.

0:23:21.920 --> 0:23:23.199
<v Speaker 2>I don't know any of it.

0:23:23.800 --> 0:23:27.399
<v Speaker 3>I think, what have I got personal trainer? Okay, I

0:23:27.480 --> 0:23:30.760
<v Speaker 3>know it's quite expensive, but you know, when the band

0:23:30.800 --> 0:23:32.840
<v Speaker 3>took off, I had a bit more money, so I

0:23:32.880 --> 0:23:35.240
<v Speaker 3>was able to it might be worth trying to do that.

0:23:35.280 --> 0:23:38.040
<v Speaker 3>I think you're looking at probably fifty quid an hour,

0:23:38.600 --> 0:23:42.399
<v Speaker 3>probably forty quid an hour. But what you learn is invaluable,

0:23:42.440 --> 0:23:45.080
<v Speaker 3>you know, I'll show you how to use things. Two

0:23:45.200 --> 0:23:48.240
<v Speaker 3>or three, four sessions with one in your way, I reckon.

0:23:49.640 --> 0:23:51.560
<v Speaker 3>I had one for like a year, and then after

0:23:51.600 --> 0:23:53.680
<v Speaker 3>that I just broke away and then did my own thing.

0:23:54.520 --> 0:23:57.240
<v Speaker 2>So do you go to the gym every day most days?

0:23:57.320 --> 0:23:59.959
<v Speaker 3>Yeah, if the kids aren't, if it's not too much

0:24:00.080 --> 0:24:02.160
<v Speaker 3>cashle yeah, you know, if the kids are at home

0:24:02.240 --> 0:24:05.920
<v Speaker 3>and they are sort of you know, it's too much

0:24:05.920 --> 0:24:08.479
<v Speaker 3>for clear on our own. Sometimes it would be too

0:24:08.560 --> 0:24:12.119
<v Speaker 3>much for me on my own, you know. So so

0:24:12.280 --> 0:24:14.880
<v Speaker 3>you don't tend to go on days like that, but generally, yeah,

0:24:15.000 --> 0:24:16.000
<v Speaker 3>try and go every day.

0:24:16.359 --> 0:24:17.840
<v Speaker 2>You kind of need to be as healthy as you

0:24:17.880 --> 0:24:20.360
<v Speaker 2>can when you're not touring, because when you're touring it's

0:24:20.359 --> 0:24:22.040
<v Speaker 2>really easy to be unhealthy. I imagine.

0:24:22.280 --> 0:24:29.520
<v Speaker 3>Yeah, I'm proper sort of military on tour, just gig

0:24:29.840 --> 0:24:32.560
<v Speaker 3>back to the hotel gym the next day if there's

0:24:32.560 --> 0:24:33.160
<v Speaker 3>one in town.

0:24:33.440 --> 0:24:36.720
<v Speaker 2>All right, So he's stay in shape. Yeah, on the road.

0:24:36.920 --> 0:24:39.320
<v Speaker 3>I don't go mad because obviously the gig takes a

0:24:39.320 --> 0:24:42.520
<v Speaker 3>lot out of you. But obviously without drinking, not doing

0:24:42.680 --> 0:24:45.240
<v Speaker 3>drugs anymore, it's that weights off your shoulders, you know

0:24:45.280 --> 0:24:47.800
<v Speaker 3>what I mean. You haven't got a hangover, you focus,

0:24:47.920 --> 0:24:50.159
<v Speaker 3>you know what I mean. It's still very tired. I mean,

0:24:50.200 --> 0:24:52.600
<v Speaker 3>I'm nearly fifty, you know what I mean. But then again,

0:24:53.000 --> 0:24:56.840
<v Speaker 3>when I was twenty. It takes it out of you,

0:24:56.840 --> 0:25:00.239
<v Speaker 3>you know. But I find that if I stick to that,

0:25:00.640 --> 0:25:03.159
<v Speaker 3>I'm fine. But I'm obviously conscious that you've got to

0:25:03.160 --> 0:25:06.639
<v Speaker 3>communicate with people and see people. Yeah, but you know,

0:25:06.680 --> 0:25:08.600
<v Speaker 3>if you can balance it, you're all right.

0:25:08.680 --> 0:25:12.440
<v Speaker 2>I remember when we when we last met, someone came

0:25:12.480 --> 0:25:14.800
<v Speaker 2>over whilst maybe whilst we were leaving, whilst we were

0:25:14.800 --> 0:25:16.600
<v Speaker 2>going to do photos, just some just some guy. He

0:25:16.600 --> 0:25:18.080
<v Speaker 2>didn't know you, but you just wanted to stay hi.

0:25:18.240 --> 0:25:22.320
<v Speaker 2>You recognized him, and we were talking about, you know,

0:25:22.400 --> 0:25:25.720
<v Speaker 2>people recognizing you and spotting you more, especially back home

0:25:26.200 --> 0:25:29.840
<v Speaker 2>because of your songs and what you're singing. Do you

0:25:29.920 --> 0:25:33.560
<v Speaker 2>find that people want to moan to you. The reason

0:25:33.560 --> 0:25:36.639
<v Speaker 2>I say this I was listening to a podcast with

0:25:36.760 --> 0:25:39.360
<v Speaker 2>Stuart Lee the other day and he was saying how

0:25:39.480 --> 0:25:44.000
<v Speaker 2>a cabby was like slagging off John Bishop to him,

0:25:44.560 --> 0:25:47.479
<v Speaker 2>presumably because you know, Stuart Lee's got this whole thing

0:25:47.520 --> 0:25:51.359
<v Speaker 2>about like he slags off all those comedians, including John Bishop.

0:25:52.080 --> 0:25:54.240
<v Speaker 2>But so he thought it was totally fine to slag

0:25:54.280 --> 0:25:57.480
<v Speaker 2>John vishuall and surely got quite annoyed with this cabby

0:25:57.480 --> 0:26:00.800
<v Speaker 2>and was actually sticking up for really sticking up for

0:26:01.320 --> 0:26:03.959
<v Speaker 2>John and Bishop and be like, how dare you how

0:26:04.040 --> 0:26:05.800
<v Speaker 2>dare you have a guy you don't know John Bishop?

0:26:05.800 --> 0:26:08.480
<v Speaker 2>He's actually really good. But this guy had seen this

0:26:08.560 --> 0:26:10.959
<v Speaker 2>persona on stage, you know, and thought, I know what

0:26:11.000 --> 0:26:13.399
<v Speaker 2>I can talk to him about, which he will. You know,

0:26:13.440 --> 0:26:16.080
<v Speaker 2>we can start up a conversation. Is I hate John Bishop?

0:26:16.160 --> 0:26:18.560
<v Speaker 2>I know he does. So we're bond over this. Do

0:26:19.119 --> 0:26:20.320
<v Speaker 2>you have a similar thing. Yeah.

0:26:20.400 --> 0:26:22.600
<v Speaker 3>Back in the day before give up boos and everything,

0:26:22.920 --> 0:26:27.840
<v Speaker 3>people would yeah, you know, ship in it when I

0:26:29.160 --> 0:26:33.679
<v Speaker 3>was out for three days mate, proper. You know, Now

0:26:33.720 --> 0:26:36.800
<v Speaker 3>it's like nobody's you don't get that much. You get

0:26:36.800 --> 0:26:41.440
<v Speaker 3>the old work thing. Sometimes we're like job ship mate, Yeah,

0:26:41.640 --> 0:26:43.240
<v Speaker 3>I don't know if I'm gonna I'm gonna stick it

0:26:43.280 --> 0:26:51.000
<v Speaker 3>to the bosh, you know, all right, okay, cool, yeah, yeah, yeah,

0:26:51.040 --> 0:26:51.720
<v Speaker 3>good for you mate.

0:26:51.920 --> 0:26:55.560
<v Speaker 2>Not too much, okay, they don't tend to People don't

0:26:55.600 --> 0:27:00.679
<v Speaker 2>have this kind of misconceived idea of of the person

0:27:00.760 --> 0:27:01.919
<v Speaker 2>you are through your music.

0:27:02.320 --> 0:27:05.240
<v Speaker 3>Sometimes not too much though, because I don't think I

0:27:05.280 --> 0:27:08.760
<v Speaker 3>do anywhere. I don't bring over any kind of you know, character,

0:27:08.880 --> 0:27:13.280
<v Speaker 3>I suppose interviews. Yeah, he's just normal.

0:27:13.560 --> 0:27:15.840
<v Speaker 2>Yeah, because there are some people like I imagine, like

0:27:15.880 --> 0:27:19.439
<v Speaker 2>Liam Gallagher who get it all the time. Yeah, you know,

0:27:19.600 --> 0:27:22.200
<v Speaker 2>like people see Liam Gallagher and if they're a fan,

0:27:22.240 --> 0:27:23.960
<v Speaker 2>they think I'm going to talk to Liam Gallagher about

0:27:24.000 --> 0:27:28.280
<v Speaker 2>the Beatles, yeah, or what you know, yeah, or the

0:27:28.359 --> 0:27:30.280
<v Speaker 2>cliche things that you think he would like.

0:27:30.359 --> 0:27:32.639
<v Speaker 3>And yeah, you don't really know him, do you, Liam Gallagher,

0:27:33.000 --> 0:27:34.199
<v Speaker 3>You're still a bit of an enigma.

0:27:34.240 --> 0:27:36.040
<v Speaker 2>And have you ever met him?

0:27:36.160 --> 0:27:42.119
<v Speaker 3>No? No, Yeah, I can imagine people going to May

0:27:42.400 --> 0:27:43.280
<v Speaker 3>acting or Laddie.

0:27:43.520 --> 0:27:45.520
<v Speaker 2>Yeah, yeah, he obviously.

0:27:45.119 --> 0:27:45.640
<v Speaker 3>Is like that.

0:27:46.119 --> 0:27:50.080
<v Speaker 2>But yeah, if not, it's a very method performance.

0:27:50.119 --> 0:28:01.240
<v Speaker 3>Oh god, yeah, you get drawn and quarter oh hello. Yeah,

0:28:01.359 --> 0:28:04.400
<v Speaker 3>but no, not too many, you know. If anything, people

0:28:04.440 --> 0:28:08.800
<v Speaker 3>are quite respectful and love your music mate, and and yes,

0:28:08.840 --> 0:28:11.440
<v Speaker 3>so elo to Andrew for you know, I think people

0:28:11.480 --> 0:28:15.359
<v Speaker 3>feel a closeness to it, the ones that like it anyway. Yeah, yeah,

0:28:15.400 --> 0:28:17.680
<v Speaker 3>and that definitely comes through when people meet you.

0:28:17.720 --> 0:28:19.640
<v Speaker 2>Do you still get much hit on Twitter?

0:28:20.000 --> 0:28:20.480
<v Speaker 3>Oh? God?

0:28:20.600 --> 0:28:25.280
<v Speaker 2>Yeah, that's where that's where everyone is. Yes, still stick

0:28:25.320 --> 0:28:26.480
<v Speaker 2>in the stick in the boot in.

0:28:26.720 --> 0:28:28.439
<v Speaker 3>Instagram is bad for it as well, but not as

0:28:28.440 --> 0:28:29.440
<v Speaker 3>bad as Twitter.

0:28:29.440 --> 0:28:29.679
<v Speaker 2>Are you?

0:28:29.960 --> 0:28:30.160
<v Speaker 3>Yeah?

0:28:30.200 --> 0:28:34.960
<v Speaker 2>Instagram is kind of a much friendlier kind of social platform.

0:28:35.040 --> 0:28:40.640
<v Speaker 3>Is you still get them? Leaving Snyder comments on the Okay, the.

0:28:40.600 --> 0:28:43.680
<v Speaker 2>Twitter thing's funny, isn't it. Like I wonder where that's going.

0:28:43.680 --> 0:28:46.800
<v Speaker 2>I wonder if, like people are, if if the sane

0:28:46.840 --> 0:28:49.520
<v Speaker 2>world will just dessert Twitter eventually and it'll just be

0:28:49.680 --> 0:28:51.160
<v Speaker 2>I think, of course it will left her in.

0:28:51.960 --> 0:28:54.360
<v Speaker 3>Yeah. I think it's lasted longer than my Space, hasn't it.

0:28:56.160 --> 0:28:59.440
<v Speaker 3>But I think, you know, Instagram is now the is

0:28:59.520 --> 0:29:03.520
<v Speaker 3>considered be the thing in you know, if you're promoting yourself,

0:29:03.560 --> 0:29:08.200
<v Speaker 3>then Instagram's the one really. But you know what I

0:29:08.240 --> 0:29:11.920
<v Speaker 3>find on Twitter is middle aged people that are not

0:29:11.960 --> 0:29:14.560
<v Speaker 3>willing to let go of Twitter, you know, and they

0:29:14.920 --> 0:29:17.600
<v Speaker 3>form all kinds of you know, you can't get a

0:29:17.640 --> 0:29:20.200
<v Speaker 3>group thing on Twitter like you can on WhatsApp. But

0:29:20.280 --> 0:29:23.560
<v Speaker 3>you'll find that various people will have the usual people

0:29:23.600 --> 0:29:26.840
<v Speaker 3>commenting on stuff that they post, and there'll be the

0:29:26.920 --> 0:29:29.760
<v Speaker 3>usual people that come in on discussions, you know, and

0:29:29.800 --> 0:29:33.360
<v Speaker 3>the usual people that support them in whatever views they've got.

0:29:33.880 --> 0:29:37.320
<v Speaker 3>They'll all collectively attack somebody that don't like, you know.

0:29:37.440 --> 0:29:41.640
<v Speaker 2>So do you recognize certain people? It's this person again,

0:29:42.600 --> 0:29:45.440
<v Speaker 2>he's got a problem with X, Y and Z. No,

0:29:46.360 --> 0:29:49.320
<v Speaker 2>you don't have known trolls. I guess they would be,

0:29:49.320 --> 0:29:49.840
<v Speaker 2>wouldn't they.

0:29:50.120 --> 0:29:53.600
<v Speaker 3>Yeah, the known trolls, there's probably one or two, but

0:29:53.640 --> 0:29:56.720
<v Speaker 3>they come back every four or five months. If they're

0:29:56.720 --> 0:29:58.600
<v Speaker 3>really bad, I just block them because I can't be

0:29:58.640 --> 0:30:01.840
<v Speaker 3>asked with it. Ye, But you'll get occasionally. If you don't,

0:30:01.880 --> 0:30:04.080
<v Speaker 3>I don't reply to them anymore. Try not to anyway.

0:30:04.160 --> 0:30:06.920
<v Speaker 3>But the ones you don't reply to will come back occasional,

0:30:06.920 --> 0:30:08.440
<v Speaker 3>and just keep trying the weirs, you know what.

0:30:08.440 --> 0:30:12.960
<v Speaker 2>I mean, because they want the response.

0:30:13.160 --> 0:30:18.960
<v Speaker 3>Rise, you know, because that's all they've got. And oh god, yeah,

0:30:19.520 --> 0:30:23.239
<v Speaker 3>some terrible ones, terrible ones where people were just like,

0:30:24.120 --> 0:30:26.840
<v Speaker 3>you need to seriously think about it yourself here, mate,

0:30:27.200 --> 0:30:29.600
<v Speaker 3>I mean, I used to troll people back in the

0:30:29.680 --> 0:30:31.960
<v Speaker 3>day before. See if we got big and Twitter was

0:30:31.960 --> 0:30:34.840
<v Speaker 3>great for It's like I can directly insult you. I

0:30:34.880 --> 0:30:37.920
<v Speaker 3>don't like you, I don't like your music. But you know,

0:30:38.080 --> 0:30:40.760
<v Speaker 3>some of them are like dark you know what I mean,

0:30:40.880 --> 0:30:45.680
<v Speaker 3>It's like dark thoughts beliefs. Obviously, the whole Brexit thing

0:30:46.560 --> 0:30:51.120
<v Speaker 3>political situation, the divide between the leave and the remainer

0:30:52.560 --> 0:30:55.440
<v Speaker 3>and what that, what that has brought on, you know,

0:30:55.560 --> 0:30:59.280
<v Speaker 3>particularly with a lot of Leave voters who were you know,

0:31:00.080 --> 0:31:01.800
<v Speaker 3>you know, I don't mean to generalize here, and I'm

0:31:01.800 --> 0:31:04.840
<v Speaker 3>sorry if anyone's listening to devote Leave that is reasonably

0:31:05.320 --> 0:31:07.800
<v Speaker 3>you know, well well adjusted. But some of it, most

0:31:07.840 --> 0:31:10.680
<v Speaker 3>of them are just fucking idiots. They come on, they're like, mate,

0:31:10.720 --> 0:31:14.440
<v Speaker 3>what you're doing. Beliefs are just all over the place.

0:31:14.520 --> 0:31:19.160
<v Speaker 3>So yeah, yeah, it's it's a it's a haven for

0:31:19.240 --> 0:31:20.520
<v Speaker 3>it's a cess pit for it.

0:31:21.320 --> 0:31:23.720
<v Speaker 2>Are you pretty thick skinned generally speaking?

0:31:23.960 --> 0:31:28.720
<v Speaker 3>No, I've tried to get a thick skin. I remember

0:31:28.800 --> 0:31:34.160
<v Speaker 3>trolling the guy out of Franz Ferdinand, the singer and

0:31:34.240 --> 0:31:36.360
<v Speaker 3>when was this like long, this was just as we

0:31:36.360 --> 0:31:40.280
<v Speaker 3>were coming up Divide an Exit had been released actually,

0:31:40.640 --> 0:31:45.040
<v Speaker 3>and I remember trolling the guy at were I just

0:31:45.960 --> 0:31:49.880
<v Speaker 3>written somewhere and I went, you know, it was about

0:31:49.960 --> 0:31:52.720
<v Speaker 3>you know, a song or something. I went, what would

0:31:52.720 --> 0:31:56.480
<v Speaker 3>you know about music or something? And he just totally

0:31:56.480 --> 0:32:00.280
<v Speaker 3>cut me down. He came straight back at me because

0:32:00.320 --> 0:32:04.440
<v Speaker 3>I actually like your music. What are you you know it?

0:32:04.560 --> 0:32:07.160
<v Speaker 3>Basically just cut me down and said, look, you need

0:32:07.200 --> 0:32:09.280
<v Speaker 3>to get a thicker skin if you're going to do this,

0:32:09.520 --> 0:32:12.720
<v Speaker 3>because this is going to get worse for you. You know,

0:32:12.800 --> 0:32:13.960
<v Speaker 3>your music's really good.

0:32:14.560 --> 0:32:20.120
<v Speaker 2>I was like, oh, cheers, how are you with reviews? Then?

0:32:20.200 --> 0:32:23.840
<v Speaker 3>Yeah, I do worry about them. I know that the

0:32:23.840 --> 0:32:28.240
<v Speaker 3>album's really strong, so that'll be fine. The creativity part

0:32:28.240 --> 0:32:31.360
<v Speaker 3>of it's intact, But that doesn't matter in this game,

0:32:31.440 --> 0:32:35.160
<v Speaker 3>does it, because somebody might just have a slant on it,

0:32:36.120 --> 0:32:38.200
<v Speaker 3>just take a slant on it because they don't like

0:32:38.240 --> 0:32:40.719
<v Speaker 3>the band, they don't like me. I mean, I've had

0:32:40.760 --> 0:32:44.040
<v Speaker 3>something in the past where people have blatantly rubbished something

0:32:44.080 --> 0:32:47.840
<v Speaker 3>that you know, it's not worth it doesn't deserve rubbishing,

0:32:47.880 --> 0:32:51.240
<v Speaker 3>and just I suspect to try and push themselves along,

0:32:51.280 --> 0:32:55.000
<v Speaker 3>you know. But but yeah, you do worry about bad

0:32:55.040 --> 0:32:59.640
<v Speaker 3>reviews because they do speak volumes to the onlooker as well,

0:32:59.680 --> 0:33:02.280
<v Speaker 3>because people are fickle, you know what I mean, people

0:33:02.360 --> 0:33:06.880
<v Speaker 3>will digest something, so yeah, but you know, what can

0:33:06.920 --> 0:33:07.200
<v Speaker 3>you do?

0:33:07.360 --> 0:33:10.160
<v Speaker 2>Yeah, it's kind of about your control, isn't it in

0:33:10.240 --> 0:33:12.760
<v Speaker 2>terms of like the thing of people coming up to

0:33:12.800 --> 0:33:15.480
<v Speaker 2>you and talking to you in the street and saying

0:33:15.520 --> 0:33:18.720
<v Speaker 2>hi and whatnot, and also the kind of crap that

0:33:18.760 --> 0:33:21.760
<v Speaker 2>people might give you online. Is that On the new album,

0:33:21.840 --> 0:33:24.840
<v Speaker 2>there's the track when You Come up to Me, Yeah,

0:33:24.880 --> 0:33:26.120
<v Speaker 2>which is about that, right.

0:33:26.880 --> 0:33:34.040
<v Speaker 3>No, it's about solitary. It's about this. It's about how

0:33:34.200 --> 0:33:37.920
<v Speaker 3>I perceive existence in the country at the minute to

0:33:38.000 --> 0:33:43.600
<v Speaker 3>be even more intensely separated from each other. You know,

0:33:43.720 --> 0:33:47.520
<v Speaker 3>people are you know, people seem to be there's quite

0:33:47.560 --> 0:33:50.400
<v Speaker 3>a lot of distance between people, even between people that

0:33:50.400 --> 0:33:54.560
<v Speaker 3>are supposedly close. You know. I've started to notice this,

0:33:56.000 --> 0:33:58.360
<v Speaker 3>and it kind of talks about that kind of thing.

0:33:58.560 --> 0:34:01.880
<v Speaker 3>How the effects of these policies is from the Conservatives

0:34:02.480 --> 0:34:10.800
<v Speaker 3>have slowly, you know, degenerated the contact between people because

0:34:10.880 --> 0:34:16.800
<v Speaker 3>people are you know, quite busy worrying about themselves, worrying

0:34:16.840 --> 0:34:21.040
<v Speaker 3>about what's going to happen post March, and just the

0:34:21.040 --> 0:34:24.080
<v Speaker 3>pressures that are on top of people, not only in

0:34:24.120 --> 0:34:27.920
<v Speaker 3>a professional sense, but also in an unskilled sense because

0:34:28.000 --> 0:34:32.480
<v Speaker 3>there's just nothing about you know, so it it caught me.

0:34:33.400 --> 0:34:39.359
<v Speaker 3>It struck me that this was quite a prevalent thing.

0:34:39.440 --> 0:34:42.600
<v Speaker 3>And also, you know, people coming into your personal space

0:34:44.200 --> 0:34:49.200
<v Speaker 3>that you trying to open. Making sense here that you

0:34:50.680 --> 0:34:53.320
<v Speaker 3>that you know and will accept into your personal space,

0:34:53.360 --> 0:34:55.479
<v Speaker 3>but most of the time you don't want any when

0:34:55.640 --> 0:34:58.120
<v Speaker 3>anyone near you. You know, it talks about this feeling

0:34:58.200 --> 0:35:02.279
<v Speaker 3>of you know, a four isolation almost as well, you know,

0:35:03.320 --> 0:35:04.839
<v Speaker 3>if that makes sense.

0:35:05.040 --> 0:35:08.400
<v Speaker 2>And you're properly singing on that track as yeah, and

0:35:08.520 --> 0:35:12.960
<v Speaker 2>in fire War as well, he sing yeah, it's good.

0:35:13.040 --> 0:35:16.080
<v Speaker 3>Yeah, thank you, thank you, thank you. I used to

0:35:16.120 --> 0:35:20.520
<v Speaker 3>sing before, but obviously Sleaford took off and I was

0:35:20.560 --> 0:35:23.759
<v Speaker 3>obsessed with the ranting thing and blah blah blah. But

0:35:23.880 --> 0:35:28.120
<v Speaker 3>I started listening to more eighties soul, Luther Van Ross

0:35:28.120 --> 0:35:35.120
<v Speaker 3>and Charelle Shaka Khan and just getting into not purpose

0:35:35.200 --> 0:35:38.240
<v Speaker 3>he wanted to sing, but when Andrew would send certain

0:35:38.320 --> 0:35:41.320
<v Speaker 3>songs over, it was just, oh, this is this is

0:35:41.360 --> 0:35:44.319
<v Speaker 3>really melodic. Yeah, so I wanted to try and do

0:35:44.360 --> 0:35:47.920
<v Speaker 3>something like that and also lock it. Why not, you know,

0:35:48.200 --> 0:35:49.960
<v Speaker 3>I thought it was quite good to try and merge

0:35:50.000 --> 0:35:54.319
<v Speaker 3>some eighties soul. Yeah, although it doesn't sound like that,

0:35:54.400 --> 0:35:56.239
<v Speaker 3>I don't think on the album. I mean that's the

0:35:56.280 --> 0:35:58.120
<v Speaker 3>way I'll try to approach it, try to merge that

0:35:58.200 --> 0:35:58.839
<v Speaker 3>with what we do.

0:35:58.920 --> 0:36:01.040
<v Speaker 2>You know, what was the and for Eating a Life?

0:36:01.040 --> 0:36:03.360
<v Speaker 2>Did you have like a kind of goal for it?

0:36:03.400 --> 0:36:04.840
<v Speaker 2>How did you approach making.

0:36:04.560 --> 0:36:08.920
<v Speaker 3>It one in a goal? Really? Just we started recording

0:36:08.960 --> 0:36:14.719
<v Speaker 3>again in January last year and that resulted in the

0:36:14.880 --> 0:36:17.280
<v Speaker 3>EP that we did on Rough Trade Sleep for Mods

0:36:17.280 --> 0:36:23.719
<v Speaker 3>EP YEP, and then from that, Andrew after about two

0:36:23.800 --> 0:36:28.400
<v Speaker 3>or three months, sent me through so started sending me

0:36:28.440 --> 0:36:31.799
<v Speaker 3>more stuff, and that stuff made up the album. But

0:36:31.960 --> 0:36:35.360
<v Speaker 3>what we did with both the EP and this album

0:36:35.440 --> 0:36:37.840
<v Speaker 3>is I'd get him to send me stuff through and

0:36:37.880 --> 0:36:40.880
<v Speaker 3>I will work on it at home, and I would

0:36:41.080 --> 0:36:44.480
<v Speaker 3>wait until I've had a really firm idea for it.

0:36:45.960 --> 0:36:49.080
<v Speaker 3>Instead of just getting say a short melody for this

0:36:49.239 --> 0:36:51.560
<v Speaker 3>or that and then going in the studio and improvising

0:36:51.600 --> 0:36:55.480
<v Speaker 3>the rest, I'd really work on them, you know. And

0:36:55.520 --> 0:36:57.839
<v Speaker 3>that's I suppose that's where the singer came in a lot,

0:36:57.880 --> 0:37:01.359
<v Speaker 3>because I just felt like I had time to experiment

0:37:01.719 --> 0:37:08.080
<v Speaker 3>and you know, time to think about the songs. Didn't

0:37:08.120 --> 0:37:14.080
<v Speaker 3>necessarily consciously want to push it forwards. It just happened

0:37:14.120 --> 0:37:18.520
<v Speaker 3>sort of naturally, but obviously at the same time I

0:37:18.560 --> 0:37:20.800
<v Speaker 3>was aware that, you know, I don't want to repeat myself,

0:37:20.800 --> 0:37:24.960
<v Speaker 3>you know what I mean? Vocally Anyway, and Andrew's music

0:37:25.080 --> 0:37:27.400
<v Speaker 3>was common, it was getting more confident, it was stronger.

0:37:27.920 --> 0:37:31.440
<v Speaker 3>This compared to English tap, I think the music and

0:37:31.520 --> 0:37:32.640
<v Speaker 3>this is a lot tougher.

0:37:33.080 --> 0:37:36.359
<v Speaker 2>Yeah, it's more dimension it feels like it's really it's

0:37:36.360 --> 0:37:39.560
<v Speaker 2>really progressed. Like the beats. There's a lot more going

0:37:39.560 --> 0:37:42.800
<v Speaker 2>on in some of them on like like bab Spiders

0:37:43.200 --> 0:37:48.640
<v Speaker 2>and subtraction. Subtraction's got like extra elements that weren't there before. Yeah,

0:37:48.760 --> 0:37:50.520
<v Speaker 2>it has got a different feel, like the whole record

0:37:50.520 --> 0:37:53.920
<v Speaker 2>I think got a different feel. Yeah, it's really great.

0:37:54.320 --> 0:37:56.279
<v Speaker 2>How is Andrew doing. Is he still living on a

0:37:56.360 --> 0:37:56.879
<v Speaker 2>narrow boat?

0:37:57.520 --> 0:38:02.600
<v Speaker 3>No, he left the narrowboat sold all and he was

0:38:02.800 --> 0:38:08.919
<v Speaker 3>in a relationship. Relationship finished, and he took time out too,

0:38:09.800 --> 0:38:12.080
<v Speaker 3>you know, just to take stock, I think. And he

0:38:12.200 --> 0:38:17.080
<v Speaker 3>moved back to his parents' house in Saxelby in Lincoln

0:38:17.200 --> 0:38:23.759
<v Speaker 3>So I think that partly helped the the change in

0:38:24.000 --> 0:38:26.399
<v Speaker 3>the texture of the music. You know what I mean

0:38:26.680 --> 0:38:29.319
<v Speaker 3>in the you know, in what he did, because it

0:38:29.440 --> 0:38:31.800
<v Speaker 3>just seemed to be a lot more alert the music

0:38:31.840 --> 0:38:34.520
<v Speaker 3>when he sent it through, it was like whoall you know?

0:38:35.239 --> 0:38:37.560
<v Speaker 3>And so it made me want to do different things

0:38:37.600 --> 0:38:38.480
<v Speaker 3>to it. Do you know what I mean?

0:38:38.960 --> 0:38:42.680
<v Speaker 2>And what's your plan going into like your shows? Because

0:38:44.000 --> 0:38:46.960
<v Speaker 2>what I've always liked is the sleeper Board's kind of

0:38:47.360 --> 0:38:50.640
<v Speaker 2>experiment of seeing how far you can push the setup

0:38:50.680 --> 0:38:55.239
<v Speaker 2>that you've got and not wanting to like fuck with that,

0:38:55.320 --> 0:38:58.160
<v Speaker 2>and so if we can, it's two of us. I

0:38:58.200 --> 0:39:01.760
<v Speaker 2>remember you're saying before that you you've not even wanted

0:39:01.800 --> 0:39:04.520
<v Speaker 2>to have a backdrop behind you once you got to

0:39:04.640 --> 0:39:05.840
<v Speaker 2>level where people were like do you want to have

0:39:06.000 --> 0:39:08.359
<v Speaker 2>your name written in big letters? You're like, no, don't

0:39:08.360 --> 0:39:08.719
<v Speaker 2>want that.

0:39:08.920 --> 0:39:10.640
<v Speaker 3>It takes away from it because we had it at

0:39:10.640 --> 0:39:13.839
<v Speaker 3>a festival in Leeds and it just I just thought

0:39:13.920 --> 0:39:17.960
<v Speaker 3>it made us merged is into everything else. And I'm

0:39:17.960 --> 0:39:20.359
<v Speaker 3>not saying that, you know, oh we're just you know,

0:39:20.719 --> 0:39:25.120
<v Speaker 3>you are just you lowly creatures and majestic band. I'm

0:39:25.120 --> 0:39:27.080
<v Speaker 3>not saying that, but I just don't. I just don't

0:39:27.280 --> 0:39:30.520
<v Speaker 3>like it, you know, I don't think you need it.

0:39:30.640 --> 0:39:33.920
<v Speaker 3>Some bands need it, and it works for other bands,

0:39:33.920 --> 0:39:35.560
<v Speaker 3>you know what I mean, But I don't think it

0:39:35.600 --> 0:39:37.399
<v Speaker 3>works for us. I just think it looks a little bit.

0:39:37.640 --> 0:39:40.880
<v Speaker 3>Everyone's at it with a backdrop, everyone's at the kind

0:39:40.920 --> 0:39:43.840
<v Speaker 3>of black backdrop with the white letters as well, and

0:39:43.920 --> 0:39:46.920
<v Speaker 3>it just didn't want it. I don't think it. I

0:39:46.920 --> 0:39:47.759
<v Speaker 3>don't think we need it.

0:39:47.800 --> 0:39:51.239
<v Speaker 2>You know about some pyrotechnics glitter cannon.

0:39:51.120 --> 0:39:54.400
<v Speaker 3>Well, we are thinking, funny, we're thinking about getting a

0:39:54.480 --> 0:39:55.399
<v Speaker 3>lighting thing going.

0:39:55.640 --> 0:39:59.719
<v Speaker 2>Okay, right, I know what you mean. Though. I like

0:39:59.800 --> 0:40:03.279
<v Speaker 2>the fact that I like the fact that that when

0:40:03.320 --> 0:40:07.440
<v Speaker 2>you play the Roundhouse, for example, you're still playing it

0:40:07.480 --> 0:40:10.240
<v Speaker 2>as if you were playing upstairs the pub.

0:40:10.480 --> 0:40:10.600
<v Speaker 3>Yea.

0:40:11.040 --> 0:40:12.680
<v Speaker 2>That there's something to that. There's something that.

0:40:13.000 --> 0:40:15.319
<v Speaker 3>Forces you to look at what's actually going on as

0:40:15.320 --> 0:40:19.319
<v Speaker 3>opposed to what is alluding to going on. And I

0:40:19.360 --> 0:40:23.160
<v Speaker 3>think that's why we like it. It's suit some music

0:40:23.200 --> 0:40:25.279
<v Speaker 3>I think to have it like that. But yeah, we

0:40:25.360 --> 0:40:31.279
<v Speaker 3>are perhaps thinking about a lighting idea which could work,

0:40:31.360 --> 0:40:33.759
<v Speaker 3>you know what I mean. I'm all for ideas as

0:40:33.840 --> 0:40:36.239
<v Speaker 3>this goes on, because you never know stuff that you

0:40:36.239 --> 0:40:39.560
<v Speaker 3>would do, stuff that you would No, I'm not into that,

0:40:40.120 --> 0:40:43.560
<v Speaker 3>you know, could work, But as regards getting anybody else

0:40:43.600 --> 0:40:49.560
<v Speaker 3>in with us. No getting another producer, no, you know,

0:40:49.640 --> 0:40:52.800
<v Speaker 3>a backdrop, Nope, but you know, little things like lighting

0:40:52.840 --> 0:40:53.879
<v Speaker 3>and that it could work.

0:40:55.080 --> 0:40:59.200
<v Speaker 2>Another thing that's happened since English tabers came out was

0:40:59.360 --> 0:41:05.319
<v Speaker 2>you've played When Stadium. Yeah, with you know, along those

0:41:05.360 --> 0:41:10.120
<v Speaker 2>lines of how does your show quote unquote unquote translate

0:41:10.120 --> 0:41:12.319
<v Speaker 2>on a bigger stage? I mean, Wembley Stadium is as

0:41:12.360 --> 0:41:15.680
<v Speaker 2>big a stage as there's ever going to be ever

0:41:16.960 --> 0:41:20.000
<v Speaker 2>for anyone. How was it? How was how was that

0:41:20.040 --> 0:41:21.800
<v Speaker 2>experience of going and playing Wembley.

0:41:22.800 --> 0:41:25.080
<v Speaker 3>I was brilliant and we thought we had it nailed

0:41:25.160 --> 0:41:28.120
<v Speaker 3>until we walked on stage and it was just I

0:41:28.160 --> 0:41:32.040
<v Speaker 3>mean Wembley Stadium. Wow. Yeah, it was a massive stage

0:41:32.080 --> 0:41:34.400
<v Speaker 3>and I think there was about seven thousand people watching us.

0:41:34.719 --> 0:41:37.759
<v Speaker 3>It was. It was quite something. I was nervous, really

0:41:37.880 --> 0:41:39.720
<v Speaker 3>was nervous, but it worked.

0:41:40.480 --> 0:41:40.560
<v Speaker 2>It.

0:41:42.000 --> 0:41:44.080
<v Speaker 3>Yeah, we went down okay, you know what I mean?

0:41:44.200 --> 0:41:44.480
<v Speaker 2>Yeah.

0:41:44.600 --> 0:41:47.480
<v Speaker 3>I was quite really quite proud of that and obviously

0:41:47.600 --> 0:41:51.320
<v Speaker 3>supporting one of the best English bands ever in my opinion. Anyway,

0:41:51.360 --> 0:41:53.880
<v Speaker 3>you know, just brilliant and it was the original lineup

0:41:53.920 --> 0:41:55.719
<v Speaker 3>as well, and it's just fantastic.

0:41:56.360 --> 0:41:59.680
<v Speaker 2>On your tour, that's that's coming up. You're playing my

0:41:59.719 --> 0:42:03.239
<v Speaker 2>home town on South End on Sea. Oh really have

0:42:03.280 --> 0:42:04.040
<v Speaker 2>you been before?

0:42:04.080 --> 0:42:05.360
<v Speaker 3>I don't know. I don't think I have.

0:42:06.200 --> 0:42:13.239
<v Speaker 2>You're in for a absolute tree. Really, it's you're doing

0:42:13.280 --> 0:42:16.680
<v Speaker 2>some really interesting like towns like down there. I like

0:42:16.800 --> 0:42:19.880
<v Speaker 2>looking at I like what like when when bands I

0:42:19.920 --> 0:42:21.680
<v Speaker 2>follow like put out that tour dates. I like to

0:42:21.719 --> 0:42:24.520
<v Speaker 2>see the regional dates. Yeah, like, because they're always the

0:42:24.520 --> 0:42:26.239
<v Speaker 2>better ones to go to if you can, you know,

0:42:26.360 --> 0:42:27.920
<v Speaker 2>be in London, you know, you get We.

0:42:27.880 --> 0:42:31.879
<v Speaker 3>Thought that because we don't really sell places out once

0:42:31.920 --> 0:42:39.319
<v Speaker 3>you get past thirteen hundred. It's a slow escalation in

0:42:39.400 --> 0:42:42.160
<v Speaker 3>ticket sales for us, you know what I mean with

0:42:42.320 --> 0:42:45.920
<v Speaker 3>places like London. You know, two thousand and three thousand

0:42:46.000 --> 0:42:48.240
<v Speaker 3>we could get away with if we just did one gig,

0:42:49.600 --> 0:42:54.200
<v Speaker 3>but generally what we found on these tours was anything

0:42:54.520 --> 0:42:58.000
<v Speaker 3>two thousand we were struggling to sell out. So we

0:42:58.120 --> 0:43:00.480
<v Speaker 3>just sort of sold this, let's just go back play

0:43:00.640 --> 0:43:04.560
<v Speaker 3>what we did three or four years ago, and you know,

0:43:04.719 --> 0:43:07.400
<v Speaker 3>take it around the country and go back to some

0:43:07.440 --> 0:43:10.239
<v Speaker 3>of these smaller places again, you know, because it'll be

0:43:10.280 --> 0:43:13.640
<v Speaker 3>a laugh and and we thought it would be something

0:43:13.680 --> 0:43:15.839
<v Speaker 3>that we could tie in with the departure from the

0:43:15.840 --> 0:43:21.120
<v Speaker 3>EU in the sense of just seeing how it was,

0:43:21.200 --> 0:43:21.839
<v Speaker 3>you know what I mean?

0:43:22.200 --> 0:43:26.200
<v Speaker 2>Yeah, yeah, because the odd tour. Will you'll be mid tour,

0:43:26.239 --> 0:43:28.880
<v Speaker 2>won't you when when it happens? When it happens on

0:43:29.000 --> 0:43:31.880
<v Speaker 2>the twenty ninth? Yeah, what is your Do you know

0:43:31.920 --> 0:43:35.040
<v Speaker 2>what your date is on the twenty nine? I don't know.

0:43:35.560 --> 0:43:38.400
<v Speaker 2>I think so there might have voted leave. I think

0:43:38.560 --> 0:43:40.040
<v Speaker 2>I think they were. I think I think it was

0:43:40.120 --> 0:43:45.960
<v Speaker 2>maybe fifty forty leave small sixty forty even, I think.

0:43:46.560 --> 0:43:49.279
<v Speaker 2>But I think you'll have a good show there. It's

0:43:49.320 --> 0:43:52.560
<v Speaker 2>quite a good it's a venue on the seafront, Yeah,

0:43:52.719 --> 0:43:55.120
<v Speaker 2>and it's it's a good size.

0:43:55.239 --> 0:43:55.439
<v Speaker 3>Yeah.

0:43:55.520 --> 0:43:55.880
<v Speaker 2>Yeah.

0:43:55.880 --> 0:43:58.000
<v Speaker 3>I mean I'm not expecting any grief at all. And

0:43:58.040 --> 0:43:59.600
<v Speaker 3>I don't think for one minute the country is going

0:43:59.640 --> 0:44:02.960
<v Speaker 3>to just explode, you know what I mean, just not

0:44:04.280 --> 0:44:05.799
<v Speaker 3>We're just going to get on with it like we

0:44:05.840 --> 0:44:10.719
<v Speaker 3>get on with anything, and just moan about it when

0:44:10.760 --> 0:44:12.799
<v Speaker 3>you go out into a smaller thing, because we're quite

0:44:12.880 --> 0:44:14.879
<v Speaker 3>perceived as a quite a big band now, I think

0:44:14.920 --> 0:44:17.040
<v Speaker 3>it'd be quite special to go out to smaller places

0:44:17.080 --> 0:44:20.480
<v Speaker 3>and people think will really appreciate it. They appreciated it

0:44:20.520 --> 0:44:24.080
<v Speaker 3>before three years ago, you know, So that's a buzz,

0:44:24.120 --> 0:44:26.239
<v Speaker 3>and we're going to go around all record shops doing

0:44:26.320 --> 0:44:28.399
<v Speaker 3>signings and meet and gets, you know what I mean,

0:44:29.280 --> 0:44:32.280
<v Speaker 3>instelling the old usual playloads of rough trade in stores

0:44:32.680 --> 0:44:35.520
<v Speaker 3>to try and you know, charge every make sure everybody

0:44:35.600 --> 0:44:38.920
<v Speaker 3>buys an album to get in so it ups the

0:44:39.000 --> 0:44:41.360
<v Speaker 3>chart placement, which is good. You know, I really would

0:44:41.400 --> 0:44:44.160
<v Speaker 3>like a top ten this time, but I can't see

0:44:44.160 --> 0:44:47.200
<v Speaker 3>it happening, to be honest, because of because we haven't

0:44:47.440 --> 0:44:50.520
<v Speaker 3>done that much of that kind of thing for it,

0:44:50.600 --> 0:44:53.200
<v Speaker 3>you know. But yeah, it should be good, you know,

0:44:53.640 --> 0:44:55.520
<v Speaker 3>And I like to I like gig in, you know,

0:44:55.520 --> 0:44:58.320
<v Speaker 3>because it just moves the performance on and the amount

0:44:58.360 --> 0:44:59.759
<v Speaker 3>of shows that we've got by the end of that,

0:45:00.120 --> 0:45:02.680
<v Speaker 3>or the performance would have moved on a bit, it would.

0:45:02.800 --> 0:45:06.040
<v Speaker 3>I will. We will be well oiled for the festival season,

0:45:06.640 --> 0:45:08.799
<v Speaker 3>you know. And you know I love all that you

0:45:08.800 --> 0:45:11.520
<v Speaker 3>know going on there and bang bang bang. You know,

0:45:11.719 --> 0:45:12.480
<v Speaker 3>it's it's great.

0:45:13.719 --> 0:45:15.320
<v Speaker 2>I know you listen to a lot of new music,

0:45:15.480 --> 0:45:17.680
<v Speaker 2>yeah a lot of the time. Have you had anything

0:45:17.680 --> 0:45:21.680
<v Speaker 2>recently that's worth mentioning? Tipping me about.

0:45:21.520 --> 0:45:24.000
<v Speaker 3>Viagra boys, I think that you know a lot of

0:45:24.000 --> 0:45:27.040
<v Speaker 3>people are starting to become aware of them, but not

0:45:27.080 --> 0:45:30.600
<v Speaker 3>normally my thing because guitar stuff I'm not, but it works.

0:45:30.640 --> 0:45:32.200
<v Speaker 3>You know, they really I've got something.

0:45:32.719 --> 0:45:36.840
<v Speaker 2>They look like they mean it.

0:45:36.920 --> 0:45:39.120
<v Speaker 3>You know, I'm not just talking about the booze or

0:45:39.160 --> 0:45:43.040
<v Speaker 3>the drugs. They just look like it's them, you know,

0:45:43.040 --> 0:45:45.600
<v Speaker 3>because a lot of bands today, especially in this country,

0:45:46.120 --> 0:45:49.160
<v Speaker 3>you know, without mentioning names, just do not look like

0:45:49.200 --> 0:45:51.680
<v Speaker 3>they're attached to what they're trying to do, you know,

0:45:52.320 --> 0:45:56.359
<v Speaker 3>and it's you know, it's a bit. It's not disheartening,

0:45:56.400 --> 0:45:59.239
<v Speaker 3>but it just puts me off checking out, you know,

0:45:59.400 --> 0:46:02.560
<v Speaker 3>white band with guitars, you know what I mean. But

0:46:02.800 --> 0:46:08.120
<v Speaker 3>apart from that, Drill really and what else my obsession

0:46:08.160 --> 0:46:11.560
<v Speaker 3>with eighties soul, I go, I go back in, I

0:46:12.040 --> 0:46:13.600
<v Speaker 3>come out of Drill and go back into it because

0:46:13.640 --> 0:46:16.680
<v Speaker 3>it's so intense and dark, you can only have small

0:46:16.760 --> 0:46:19.920
<v Speaker 3>periods on it. But those small periods are really you know,

0:46:20.040 --> 0:46:22.080
<v Speaker 3>you really do get a lot from it, a real

0:46:22.200 --> 0:46:27.080
<v Speaker 3>beneficial Aside from that one else, been listening to Drake

0:46:27.160 --> 0:46:27.480
<v Speaker 3>a lot.

0:46:28.480 --> 0:46:32.279
<v Speaker 2>Just I went to see Drake at the two. It

0:46:32.360 --> 0:46:38.719
<v Speaker 2>was hilarious. It was so good and entertaining, but so

0:46:39.000 --> 0:46:44.399
<v Speaker 2>naff because it was it was when he released the Views.

0:46:44.440 --> 0:46:48.680
<v Speaker 2>It was the last time, and it was it was

0:46:48.719 --> 0:46:52.000
<v Speaker 2>like seeing a red coat, like he was like the

0:46:52.040 --> 0:46:54.680
<v Speaker 2>way he was whipping the crowd up. Because also everyone

0:46:54.719 --> 0:46:56.719
<v Speaker 2>was there, like everyone was like in awe of him,

0:46:57.320 --> 0:47:00.880
<v Speaker 2>men and women everywhere and they were cheer anything, you know,

0:47:01.280 --> 0:47:03.399
<v Speaker 2>And he came out with our union Jack Drake round

0:47:03.480 --> 0:47:09.600
<v Speaker 2>him and considering, like, you know, considering that record is

0:47:09.640 --> 0:47:14.200
<v Speaker 2>so clearly about Toronto, like on the sleeve he sat

0:47:14.280 --> 0:47:17.840
<v Speaker 2>on top of it, on your or whatever. And he

0:47:17.880 --> 0:47:20.920
<v Speaker 2>comes out, He's like, hey, London, when I wrote this album,

0:47:21.239 --> 0:47:25.360
<v Speaker 2>I was thinking of oh you guys, and everyone's like, yeah,

0:47:25.440 --> 0:47:28.799
<v Speaker 2>no one there go No, No, you weren't know you

0:47:28.840 --> 0:47:32.279
<v Speaker 2>weren't you definitely weren't. You definitely weren't think about us.

0:47:32.320 --> 0:47:35.799
<v Speaker 2>But people were just so and you know, but he's

0:47:35.800 --> 0:47:39.719
<v Speaker 2>a he was an absolute master at pacing it. And

0:47:39.920 --> 0:47:43.600
<v Speaker 2>that sounds a really nerdy wanky, but he basically had this.

0:47:43.719 --> 0:47:46.520
<v Speaker 2>It was just him and it the DJ really yeah yeah,

0:47:46.840 --> 0:47:49.720
<v Speaker 2>and he had some like guests came out, like gigs

0:47:49.719 --> 0:47:52.319
<v Speaker 2>came out and section boys came out and stuff. But

0:47:52.760 --> 0:47:57.680
<v Speaker 2>he he he would play you know, a lot of

0:47:57.719 --> 0:48:01.200
<v Speaker 2>his tracks, he would play twenty seconds like a sample

0:48:01.680 --> 0:48:04.279
<v Speaker 2>and then they'd just scrap it move on to some

0:48:04.280 --> 0:48:06.080
<v Speaker 2>of that's really frustrating because there was like some of

0:48:06.120 --> 0:48:08.759
<v Speaker 2>the tunes, some of the big tunes, you'd be like,

0:48:08.920 --> 0:48:10.680
<v Speaker 2>I want to hear this song, and it just kind

0:48:10.719 --> 0:48:13.600
<v Speaker 2>of just cut it. He hardly played any song all

0:48:13.640 --> 0:48:17.400
<v Speaker 2>the way through. Yeah, it was just about it was

0:48:17.440 --> 0:48:21.520
<v Speaker 2>this kind of weird but the pace of it was

0:48:21.800 --> 0:48:26.839
<v Speaker 2>so quick because you couldn't really keep up, and he

0:48:26.920 --> 0:48:28.880
<v Speaker 2>was really good at knowing when a song was dying,

0:48:28.880 --> 0:48:30.960
<v Speaker 2>when it wasn't going very well, and it'd start like

0:48:31.080 --> 0:48:34.439
<v Speaker 2>having this mock argument with his DJ, and his DJ

0:48:34.560 --> 0:48:38.640
<v Speaker 2>was kind of like his stooge. He's going, what you're doing?

0:48:38.680 --> 0:48:40.560
<v Speaker 2>You can't be playing this. We were in London right now.

0:48:40.600 --> 0:48:45.480
<v Speaker 2>Everyone would scream because he just said London and it's great.

0:48:45.680 --> 0:48:47.960
<v Speaker 2>It's like it was really entertaining.

0:48:48.200 --> 0:48:49.680
<v Speaker 3>I mean, the people have said that he's a bit,

0:48:49.719 --> 0:48:51.600
<v Speaker 3>you know, when we played in Cando, they were like, Drake,

0:48:51.680 --> 0:48:55.759
<v Speaker 3>he's fake, he's not gangster, and blah blah blah. But

0:48:56.000 --> 0:48:58.080
<v Speaker 3>you kind of know that, but you forgive him because

0:48:58.440 --> 0:49:01.120
<v Speaker 3>he's he's so good at what he does.

0:49:01.200 --> 0:49:02.800
<v Speaker 2>Yeah, some of these songs are brilliant.

0:49:03.520 --> 0:49:06.800
<v Speaker 3>I'm sure it's not then, right? So is it? Does he?

0:49:07.080 --> 0:49:10.279
<v Speaker 3>I don't know, because he delivers them so perfectly, even

0:49:10.280 --> 0:49:12.719
<v Speaker 3>if you didn't write them, so what you deliver them

0:49:12.760 --> 0:49:13.600
<v Speaker 3>so spot.

0:49:13.360 --> 0:49:22.080
<v Speaker 1>On Midnight Chats is a Loud and Quiet podcast production

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<v Speaker 1>by Emma Snook Music courtesy of gold Panda. Search Midnight

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<v Speaker 1>Chats on iTunes for more episodes and to subscribe. For

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<v Speaker 1>more information, visit Loud and Quiet dot com