Well, the first time I put a record out was when the collapse of music happened, and we worked up from there.
Welcome to Midnight Chats, a podcast of laid back conversations with leading names in music. In keeping with these informal interviews, each new one is published weekly at midnight. This week's episode is hosted by me Greg cochrane from Loud and Quiet magazine. Thanks for joining me on Midnight Chats Tonight. My guest is tour Maries, better known as the artist
Billy Nomades. Despite the pandemic turning the world on its head in twenty twenty, it was still a breakout year for Billy Nomades, who released her self titled debut album
last August. She followed that up with a brilliant EP, Emergency Telephone, that came out in March of this year, signed to Invader Records, the label co founded and run by Jeff Barrow from Porter said, Billy Nomates was speaking to me a couple of weeks ago from Invader HQ in Bristol, where she spent the last couple of months writing and demoing and recording material for a new album.
I've really felt for all musicians and the wider music community the past eighteen months of everything going on, but particularly newer artists, the situation has taken away a lot of opportunities for them getting in front of real life crowds being the obvious one. But we talk a bit about that great to hear that she wants to reclaim the experience of her debut album before moving on to
what comes next. So thank you again to Billy Nomates for taking the time out and what was a very hot day to record this episode and enjoy some chat about everything from relearning basic social skills again as society opens back up like we all are doing right through to Iggy Pop and his fandom of Billy Nomates. So let's get in to it. This is Midnight Chat's number one hundred and ten where my guest is Billy Nomads.
I kind of feel bad about sort of dragging you away to speak on our podcast on the day where it's like sweltering hot, but I feel I don't feel awful because I can see that where I'm speaking to you from is in the studio. So you are hard at work, You're you're you're in the den, You're not out there in the sunshine.
Today right, I'm shielding from it. Yeah, no, it's really I'm not invader studios where I'm writing, and it's very nice and cool in here. I'm trying to I don't know if they've got an AC system, but it's like the air is conditioned. Like I said, you could put you could put a jacket on and you'd be all right, which is I guess on the mean streets. It's not that way right exactly.
There's too true. What are you like in the heat generally? Do you do you run away from it? Or are you I actually like it?
I actually quite like it hot. I do actually prefer a hot climate. But there's something about being in a city and being in the UK where it's just disgusting, do you know what I mean?
I think it's the proximity to other people, isn't it. Yeah, that makes it a whole lot worse.
When it's like a hot pavement outside Poundland, you just go get me out of this hell. But if you're like, if you're abroad and it's like thirty degrees, it's fine, you know.
Yeah. Yeah, I must admit one thing that I really haven't missed. I know, the start of the pandemic. I mean, this is this is really sort of clutching its straws, given just how serious the whole situation has been. I didn't miss those like really sweaty train journeys or bust journeys where you've got no choice, where you're just kind of you just close your eyes because you're so close to something that you don't know that it's just oh, you know, everybody's sweating profusely on a day like this.
Typically, Oh, to begin with, that was the thing. I was just like, this is great. I didn't like people next to me or anywhere near me, and now it's like, oh great. And then it kind of went along time and I was like, Rambo, when here you're just sweat next to you, did you.
Get nostalgic and sweaty strangers?
Yeah, a little bit. I think we were. I think if we were being honest, we all did.
Yeah, it's true. Yeah, in a gig context, definitely. Like I would have given anything at points to just be in a crowd at a gig. But on on the sort of number one seventy five bus from there from will from so Central to Chingford at half us five on the Tuesday, I still don't miss it.
No, you're right, it's a different dynamic, that's true.
So hey, I can see that obviously you're in the studio. Like around you, I can see like mic stands and leads and everything else. Like, presumably you are hard at work writing new music. What's going on at the moment? Are you? Are you sort of doing you know, full shifts in the studio writing new material. What's what's happening right now?
It's Jeff kind of just giving me a space really, which has been very kind of him. They're kind of hard at work working on soundtrack stuff and in the big control room, and and then behind me you might be able to see, but for the purpose of the podcast, behind me, there's a drum booth where I've kind of set up my drum machines and my guitars and bits and pieces, and I've kind of just been coming in every day in the evenings and just chipping away at
basically the new album, which has been amazing. And I'm incredibly grateful for the space because normally I'd just write an album in a cupboard.
Well, it's going to say say in the past, you've I mean, the first record was written at your sister's kitchen table. Is that right?
Yeah? Pretty much?
Yeah, And then the second one was written in the sort of family bedroom living with your dad, Is that right?
Yeah?
So you're used to basically looking around you and going, right, well, this is this is where I'm going to be working what.
I've I got, And yeah, I know it was, and Jeff kind of said, sort of April time, it is like, well there's no one really they're doing some sessions, but it's like there's no one really here. You could you can hide away and do that. So it's incredible. I mean, the only the only kind of thing is is that you just feel like you need to be super productive because now it's like, well I've been given this amazing space, so you better write, you better write your best work.
So but I've got over that. I mean, that's how I felt to begin with, and now I'm really over that. I'm really not thinking that way anymore. I've been here long enough to just go. You turn up, you see what happens, maybe you go home, maybe you come back later. That's it now, and it feels and you feel at home, like to begin with, it's always whenever I used to come here. I was always a little bit intimidated because it's a fancy.
Studio and like, great records have been made there, Jeff and Jeff and the Invader Labels history is obviously, you know, notable, and so there's just a whole sort of aura that goes with that.
Right, totally. Yeah. And I've always feel it the first, you know, the first few weeks I'm here. I always feel that, and then you kind of start slipping into it and you go, oh, hang on, no, it's cool, relax, like you're here doing stuff and you know you're you're you're supposed to be here. Oh, absolutely, yeah, because it takes a minute. You know, I'm constantly like, why am I here? Why a me? You know?
Do you do you feel like you still have a sort of a certain amount of sort of well, it's sort of imposter syndrome, almost, isn't it. That's what people call it when they don't feel like they're in the situation that you know that they don't feel you know that they should be there for some reason, but like you absolutely do, like of course you deserve to be there writing new music, like, but yeah, you can't help that. Its a little voice in the back of your head sometimes, isn't it.
Oh yeah, I think it's everything. Everyone must have it to a degree. And maybe it's weird if you come in and you go, yeah.
Yeah, this is my leather chair.
I'm captain of this ship. You know, you don't you just come in and you go, shit, here we go and yeah, but yeah, I've kind of you know, I've been here for about seven or eight weeks now, and you just learn that you have good days and bad days, and some days just don't work at all. And sometimes you need to come in late at night. Sometimes you need to come in first thing in the morning, and
that's just the nature of it. Yeah, and then it's okay to feel a bit impostery, like yeah, I think if I felt ultra confident like, it wouldn't be good, you know what I mean, it wouldn't It would be like, Oh, hang on, Billy or whatever your name is.
What's the experienced like the last what's supposed to have been a couple of years since you've got to know Jeff and the Invader team, Like, are they is there like a kindred spirit? How do you get on? I mean, obviously they were admirers of your music to work with you and you know, release through the label, But how do you get on with them as people? It sounds like they're giving you, like the time and space to
do your thing in the studio. At the moment outside of that, you know, when you go for a drink or something, was it like.
Oh, it's great. Like I just consider Jeff and ste and everyone. I just consider everyone friends. As much as I work with them, I just like them as people and hopefully it's vice versa. But yeah, they're just cool. They're just maybe there's a kindred spirit thing going on. I'll just chat with them about anything and everything. And it's getting to that point now, especially after the last year where and especially coming in every day being like, hi, I'm here.
I don't know if I let myself in, isn't it?
Yeah? Pretty much there? Now?
Does anybody want an ice cream? I'm going to the shop.
That's pretty much where we're at, actually, Jeff, Jeff, pretty good. Buy buy sushi for me actually, which is wicked.
That's excellent. Yeah, it's been a good place there.
It feels good. Nah, it's cool, you know. I just yeah, they're wicked and I really like them and I really like that. Jeff's just like he's just one of them people. He's just given me the space and he's just what he's doing is basically nurturing what I'm doing, and that
just feels incredibly special and rare. Yeah, I think I'd probably be eternally grateful for the way that he's approached what I'm doing and sort of trusting me and stepping back and then stepping in occasionally and just yeah, and you go through the last year, it's like it's been pretty hectic and weird and shit, So you kind of go through enough stuff that you go, well, you've seen
me at my absolute worst. We've all had explosive arguments in WhatsApp groups, and now it's like now it's pretty Now it can sort of sit and have a pint and talk about stuff, and yeah, it's cool. You just build, you build something and it's a different dynamic and then it's it's still working, it's still everything else. But yeah, it's great. It's I wouldn't really want for anything else.
As you're writing new material, do you always just keep it to yourself until you consider that it's final and it's done, or are you learning to kind of enjoy having like an extra ear just to say, hey, can you just check this? What do you think of this?
And I mean when you were making the first record, for example, I don't know whether that was there or not, whether you were working on that on your own, but is it a slightly different dynamic to be able to just sort of bounce ideas off somebody checking them with somebody, just ask what they think or are you still very much like when it's done, I'll share it with somebody, But right now this is my thing.
I'm a bit of both with this one. I've shared spits and pieces. I've got lots on the go, the ones that I'm thinking I could see that making it. It's not quite there, but I could see it making it. I'll demo them and send them to Jeff or sometimes Claire, my management, and just go, what do you reckon to that? What's she got instinct on this? And it will just be a little MP three and it won't be it'll be nothing spectacular about. It would just be the bare
bones of it. And that's normally a good gauge because with Jeff it will be like a one word and so like great.
Feedback.
Yeah, yeah, yeah, good track. Yeah, and that's when and I'll take that absolutely face value, because he's got no you know what I mean, Like you could go not sure you know what I mean, and I would take that as exactly as it is as well. And Claire's good as well. You know, she'll say, oh, I like this, or this is good or this has got a good fit. I remember, like I've woke up, I remembered that that's
a good one. I think sometimes you share it. Sometimes she has to for my sister, and she'll be like I woke up with that in my head, and I'd be like, oh, that's good. But yeah, I'm getting I'm getting better at it. I don't know. But then there's some stuff that I do feel solid on, but I'm like, not.
Chat dready yet for your ears.
It's weird. I think it's because I just want I almost want to present it. I'm getting to that point now where I want to present it as the finished article almost or like almost the finished article. So I just think because I just want the best reactions, so I kind of go ah, which is which is good and bad because it means that you throw less demos around. But I just get protective and hopefully, hopefully what's I mean?
I don't know, but hopefully what's happening is that the standard of things is going up, hopefully the way I approach songwriting and the way I want to do it. Hopefully, I'm learning and things are getting slightly better. So maybe there's an element of that as well, where I'm getting a bit more conscious of what I show people because of that. I don't know.
You mentioned it earlier, like the last eighteen months have been weird and shit and bizarre and any number of words on those lines. Effectively, you were kind of on the eve you were getting everything ready to release a debut album in sort of spring twenty twenty. The album then come out in the summer. But what are your reflections now? Like it must have it must feel slightly surreal thinking of the last eighteen months. I mean, what, Yeah, how do you think you'll reflect on this period?
Yeah? I think surreal is the word. Really. I think it felt slightly surreal for everyone's So it will always be a weird one or it will be memorable. I'd be like, Well, the first time I put a record out was when the collapse of music happened and we worked up from there, you know, like the worst moment in musical history is when we arrived, you know. So it's memorable. Yeah, it is surreal, and it's a mix. Really, what I'm looking forward to Fingers Crossed and Touchwood and
all the rest of it. That tours will happen later in the year, and I want to reclaim that first album back because if I'm being honest right now, I feel very sad about it still, because it's it's amazing that it got out and we did what we did and all the rest of it. But it happened without me, is what I felt like. And I want to reclaim it and perform it and feel it and live it like every artist kind of needed to with their work.
I mean, I think any artists that put out a record last year and had intention of touring it or whatever, I think we all feel the same. We all feel a bit like that was the lost thing that you know,
and the feedback loop wasn't there really. I Mean, you had things like six music and radio and socials where it was amazing because there was a real lifeline you could you would get DJ's playing stuff, You'd I'd hear iggy pop playing songs back to back or Mark Riley or Laura la Verne or you know, and you'd go, shit, it's doing well, Like I know the world's falling apart, but my record's doing okay. And that's just such a strange.
One I can imagine for some people, like you're saying that you felt a little bit sort of almost robbed of that moment, because it's less those things you just mentioned are great, but they're not as tangible as basically playing a gig in March to a certain amount of people and then knowing that your album has been so well received that you're playing to ten times that amount of people in November of that year or whatever. And that's a real thing and the energy that that gives
you in terms of getting in front of people. So it's great to hear that you you kind of haven't entirely moved on from that, because I'm sure some of those artists that went through the same experience as you did last year perhaps just a saying Okay, well it's gone. That moment's gone, like I'll just move on or whatever. But yeah, I'm glad to hear that you still want to kind of get some of that energy out there.
I think I totally understand if the artists that have gone that album didn't happen, therefore we're just pulling it up by the roots and going for another thing. I completely respect and understand that, and there's maybe a little part of me that would like to do that. I guess, being like at the studio today and I'm working on the next album, I'm kind of kind of doing it in my own way. But also I just sort of
feel sad. Yeah, I would feel sad if I did that in a way because I go, but then my lasting memory but my debut is just this kind of sad oh feeling, and I just want to go, oh fuck that, No, no, I want I want to reclaim it. It's like a bad relationship where you have to like go visit the places that you used to go together.
You know, Oh god, this is sounding dramatic.
You used to go like this nice place together, and then it's like a year after the breakup and you go, no, I must go back and have a good time because fucking.
Yeah, totally. You just mentioned a few of the the people that picked up your music and played it and shared it and loved it. Iggy pop. For example, what a thrill to hear Iggy Pop talking about your music? I imagine what was that like?
Oh man, just surreal, and it's like surreal in a very good way. Yeah. Yeah, it's wicked. Just I mean, it's Iggy fucking pop, you know what I mean.
Like, Yeah, I'd just be clipping. I'd take that clip and I'd have it on the desktop of my computer every morning when I opened it up to work on new music. I'd be like, I'm just gonna give myself a little boost of just Iggy tell me how great I am.
Yeah, oh no, It's incredible, and it feels very genuine as well, because you kind of go, well, this is someone who ain't gonna play what they don't want to play, or isn't gonna talk, you know what I mean. They've got nothing to gain from getting behind an artist like me if he didn't want to. So it feels incredibly genuine and incredibly just yeah, well cool, very cool.
Yeah, I'm imagining Iggy Pop the first time he's heard your music. This is me just pure imagining Iggy Pop. Hears Billy No Mates for the first time. He's on his Miami beach front. The wind, the doors are open to the beach, he's got his top off, he's shimming across his living room floor as he's listening to your music. That's what That's what I reckon happened.
I'm pretty sure that's factual and that will go down as fact.
Yeah, exactly, that's what happened. That's definitely what happened. When it comes to the live thing, I mean, you've got some brilliant shows books later in the year that's fingers crossed do happen things like and the the Road Festival and Visions Festival, Manchester Psych Fest, like some great stuff.
The time in between when you haven't been able to go out and play that album and your music generally, is it offered you a chance to do a bit of a reset on thinking what you want to do when it comes to performing, or where you continue with kind of plan as say to speak.
It's weird because I feel like the answer, I feel like I should say yes, I've really thought about it and it's going to be a bonanza. Except the thing is I kind of haven't because the format that it was supposed to be is still what it's supposed to be. Do you know what I mean, it's still supposed to be a contemporary take on performance, and I didn't want to overthink that or think, you know, I get it a few times where people be like, have you got
a bandjet? You've got a bandjet, You're going to get drumm at least, you're going to get a live drum at least. It's like, well, no, And you wouldn't say that to an R and B or hip hop artist, you know you wouldn't. And it's a weird realm because I understand the confusion of like or I'm hearing a guitar but there's not a guitarist, and it's like, yeah, I still kind of want to do that.
Where do you think that comes from people thinking like that success means adding more people to the formula. Do you think that's kind of just a perception thing.
I don't know. I suppose it's just I think sometimes I might be wrong. But the feeling I get is like it's not real. It's not real music because the musicians aren't there. But it's like, well it's but it's all real. It's all real. It's all most of it played by me, it's all written by me. It's all it's and I don't know, you know, it's a weird one. It's I don't know.
Nobody was saying about Nobody was saying that about Kenya west of Glaston Brien. He just did it on his own. Ready, No.
And there's something about as well, like I don't know, I kind of like that. I mean, I refer to them all the time. But you know, the first time I saw the Sleep of Mods and I was going, oh, well, this is samples of real instruments, which is what hip hop has on forever, but just in a different context. And it was like, well, it's just it's just that again in a way. And there's just something about having the space. And I mean, I have started. I've just
started rehearsing. Actually I've probably a bit late off the mark, but I've been very cautious because I've had periods of time where I've really gone for it and then it's all been canceled. So I'm a bit a bit scarred by it. So I've been a bit cautious about where I put my energy because I want the energy to go on the record as well. So I've been a bit but I have started and I'm trying not to
overthink it. I think there's simplicity of it still works and still stands, and there may be a time where that changes, but it hasn't kind of lived this life out yet, so I'm kind of like, well, no, because I felt like it was doing something a little bit different and so it needs to still do that. Yeah, and yeah, and the people that it trips up like good.
Yeah, yeah, exactly. There's plenty of time to get a gospel choiring, isn't there.
Oh, of course that is absolutely happening.
Album four. Yeah, you did still manage to do a few things that the past eighteen months that were really great in terms of live Like before we chat today, I was watching back your performance for Jenny Betham Savage's works on a TV show called Echoes that some listeners might be aware of, but has amazing performances because it gives a great space to artists to be able to share their music much more kind of long form and
interesting in a lot of British music television. And you were invited to go onto that and your whole performances on YouTube. People should go and check it out. What was the experience like of going to record that TV show.
It was great again. It was a little bit surreal because it was just as the lockdown had sort of lifted at the end of the summer, nipped on the Your Star over to Paris, and it was all bit masks and no audience and cruising masks and a bit a bit tense because those environments are they have been and it's intense anyway, because for me it's like quite a big thing, like these things are still kind of new to me and quite massive throwing like you know,
the whole Corona thing on top. It's like, oh, Jesus Christ.
I can imagine how sort of anxiety inducing that is.
Oh it's insane, Like you kind of are just holding it together and then thinking about your performance. That's how I felt that all aside. Once it's kind of up and rolling, it's incredible. I mean it's like it's Jenny Beth and I think she's absolutely ace, Like I love
what she does and what she stands for. To be invited and to go and do it it felt very, very cool and very although it was weird because I remember coming back and telling everyone being like, yeah, I haven't seen anyone for like about six or seven months. At this point, and the first time I go and see people go and sit under some lights and have a conversation with Jenny bear Fontaine's DC and Emmel He's
an amazing singer songwriter, and it's filmed. So I felt like I come across so bad because you know when you like when we first came out and we're all like learning to speak.
Again, yeah, and social contact and.
Basic conversations like are just still a little bit hard to begin with. And then so the first experience of that is for me was like that. So I'm a bit like, OHI guys, do you know. I mean, I've tried to come in and be on badass, and I'm like, it's just really nice to be out.
Like, the only person I'm spoking to in eight months is a local shopkeeper.
Literally, it's been me and that person down the post office for a long time. And now this is what's this?
It was good, This is new, This is real life, nuanced discussion, And like I thought that that's a thing from the olden times, isn't it. We've got We've got Twitter now and TikTok. We don't need that.
Oh, I mean, we're talking about art and poetry and art history, and I'm just sat there like, oh my god, what happened?
How am I here? Sounds amazing though, what a great experience it was.
I really really enjoyed myself, and I'm so so thrilled that they asked me to go. It was amazing.
I don't normally look at the YouTube comments on videos, but I was. I was watching a performance from Echoes and couldn't help but notice that somebody had said that they were loving it, but that they said that they worked on a crane, and I just thought that was great, because I just I love the idea of somebody watching you on YouTube whilst being on a giant crane doing some kind of like construction project. A little bit dangerous, but I love the idea of that.
I'm gonna be honest, I do not endorse.
That for health and safety reasons.
Absolutely not encourage that. Why are you watching me? Why you're on a crane? Honest to god, Wait till you get home.
He's got he's probably just waiting for some bricks or something. You know.
Yeah, I just oh, no, like, well, well chuffed you watch me? But opera crane? Is it?
Exactly? Can you please concentrate on what you're doing. I don't know whether they were doing it, where they were doing it at the same time, or whether they just felt like that was just you know, I work, I work with cranes. Maybe that was just an imp Maybe that's just an important bit of information to add on to the fact that they enjoyed it.
So we don't know whether he's talking about the birds.
Could well be working in a nature reserve, not a not a big housing development, for example.
He might have just been sat there feeding them, watching it. We don't know.
That's a lot safer. Do you endorse that?
Yes, Yes, that's got the stuff. That's got my stuff for reprieval, get the birds involved.
In terms of music fandom, you're your own kind of love of music. Like I've read and heard in the past that you are a big fan of northern soul music and like eighties pop and things like that. Ye, just tracing things a little bit further back in terms of the music that you first fell in love with and stuff you still consider to be like your absolute kind of center of the record collection, things that are just you know, precious to you. What what kind of music are we talking about there?
It's really varied, but yeah, I go back to I go back to Northern Soul records because the energy is just so captured in them, and I love that. I mean, I like some old punk records. I think that does the same thing, but Northern Soul, it was kind of that melodic energy and I really relate and feel that. But also, yeah, like eighties pop and do you know what, I was not really cool, but I was listened to
Greatest Hits Radio through the Park of the day. They were doing like the archive of like Simple Minds stuff. It's belting, Like I think, I think their album like what's the what? I can't remember what their hit were real hit one was, but they went through it all and I was like every track is wicked. Yeah, I just kind of went back and I was like, that's bloody good, like it's got a live and I think it's got a live and kicking and don't you forget
about me? And they wrote really really well. But yeah, I just you know, yeah, anything kind of really real with energy and feeling. But I also have a real love for Americana music. That was really central growing up. My dad has always listened to Americana records and people I hung around with at the time were into Americana stuff. Yeah, and I remember like, yeah, a lot of James Taylor and John Denver. I don't like I mentioned John Denver a few times and it's so far removed from brilliant omtes,
but I do have a love for it though. Yeah.
We've touched on it a little bit about the plans for the rest of the year, which you'll be getting out there and playing some gigs, some great stuff booked, and obviously you're there in the studio kind of working on stuff now. But touch wood, what are your you know, without any further setbacks, which we're all hoping that, you know, the rest of the year can go without more of those.
What are're looking forward to? What are your kind of hopes in terms of like sharing some of that new music that you're working on.
I'd really hope to finish the record and yeah, maybe share it towards the end, share something from it towards the end of the year, and have it kind of there's no solid dates, but in the ether next year. Yeah, So that's kind of the broad goal. I say broad any artist will know at the moment with the way that pressing plants have got cues and stuff. You kind of have to narrow it down a bit and go, we need to roughly know when because there's quite a yeah, it's quite a queue.
So a lot of listeners won't be aware of this, but basically when the pandemic obviously came along and everybody thought, hang on, we just want to see what's going on with this, like perhaps this record we're going to release, we'll just hang on for a minute, just see when
the picture becomes clearer. And what you've got now is this enormous queue of people that want to obviously get vineyl made to a company when they release stuff still hugely important in terms of getting some income in when when you're you know, releasing music, getting a physical product out there, but there's a massive backlog. There's basically not enough factories, you know, producing vinyl, and so what's the waytime like eight nine months or something, isn't it?
Yeah, it's pretty crazy, Like I think we found one that's saying roughly five or six. But yeah, so once you have that in your heads, you go, well, even when you're talking about next year, you still have to be mindful of when those Masters are done, and yeah, so the freedom's kind of taken it. It's not so much like I wish I was the artist. It's just like it's done when I say it's done, Like, no, it's done when you need to get it in, you.
Know, need to book a slot now, even though it's not finished.
In a weird way, yeah, Like I think everyone's kind of gone into massively overplanning a bit because it's kind of had to be that way to make to make things happen, just because of the way the world.
Is and in the meantime, and we all just need to build like a pop up vinyl factory because they're easy to do, Yeah, and just to sort of meet the demand in the next eighteen lenths as people start releasing music again.
Absolutely now was weirdly now would probably be the time to set up a final factory.
Yeah, especially in the UK, so you didn't have to mess with all of the Brexit hurdles should we call them.
I don't know the ins and outs, but I know it's a bit of a nightmare. Yeah.
Yeah, it's difficult to get stock back from Europe and stuff without you know, obviously having to all the new regulations and stuff, but I mean that sounds exciting, and then on top of that, hopefully playing some shows before the year is then before he's gone, like you know, yeah, let's keep our fingers crossed.
Fingers crossed. There's a UK tour booked, a lot of it's sold out as well, which is great. Yeah, from October and then maybe doing some appearances elsewhere at the end of the year on the kind of exciting things. So yeah, just fingers cross things can run because it's so tiring when they don't.
Final question, what would you consider if you know, when gigs come back and you can get out there and play them, what if you could just have one if it was only one gig that got to happen in almost like normal life. What's almost like, what's the hometown gig or the most similar equivalent that you were just like, I just want to play that show because that would be amazing. Is there anything like that in your mind?
I actually can't say the one that I am thinking of because it's sort of not announced yet, but there is one stadium. It's not Wembley Stadium, but it's it would be quite a pinnacle moment. I think, Yeah, you know, like, I've got a show sold out showbook to just in the back of rough Trade in Bristol, and I just feel like that would be great to do because it's just especially being here, it's a shopped up you know.
I walk past it every day now and see people in masks and say, alone, the idea of kind of just it's just anywhere anywhere on that tour list. Oh, I tell you what, it looks interesting. I'm doing a matinee show in Huddersfield Library on a Sunday on a Sunday afternoon down with that. Yeah, Initially I saw it and was like, what the hell in all honestly, who's
done this? And then and then I saw the whole loud in library thing and thought, oh no that actually this looks dead cool, and actually it is dead cool, like they have loads of artists, and I was like, oh a library. I like that. I really liked the idea of it. So I cut that. I slagged it off.
I didn't mean it, But now that you're research like, I'm thoroughly into this.
No, now I think it's dead cool. Well, just interesting place places where there aren't maybe venues seem pretty interesting because especially for what I do. You don't necessarily need a venue, you just need a space, So I think that makes it kind of interesting.
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Anyway, goodnight,