Loud and Quiet Presents Midnight Chats.
Hey folks, welcome back to Midnight Chats and to what is the final episode of series seven of the podcast. I'm sounding a little bit horse today. I've had a bit of a cold for the past couple of weeks and this episode that I'm about to play was only recorded yesterday, so I'm sounding quite rough on that as well, So apologies for that, but thank you to everyone that's come on the podcast over these past ten weeks. For
this series. We're going to take a break now over over well quite a long break, I guess, because we'll probably start putting series eight out in September time, maybe October time, which is quite a way off, but it give us plenty of time to get new guests involved and to record them and to make sure it's as
good as it can be. And there will be one other episode between now and then, which will probably come out in a couple of weeks time, and we're recording that next week at the Great Escape Festival, which if you are in the area, if you're going to the Great Escape in Brighton, then you can come and see it filmed live in front of an audience. Can you I mean, can you imagine just how much fun that will be? What else would you want to be doing at ten fifteen am at a music festival if you
are interested. We're going to be recording it with self esteem, so that's the big draw. She's going to be great, I'm sure. And it's at the Jury's in in Brighton on next Friday. So we'll put that out in a couple of weeks time, I'd say something like that, and then yet we'll be back in the autumn time. For now, though, we do have this last episode of the series, which is with Georgia Barnes, who records only under the name Georgia.
And special thanks to Georgia for recording this with me yesterday because she had only just flowed home from the other side of the world. She'd been in Australia playing some shows with Jungle And if you've read a copy of the magazine this month then you may well have read a feature with Georgia. We've got feature in there. What can I tell you about her? We're not There is going to be a new Georgia album at some point, probably this year. It's a little bit under wraps still,
so we don't talk about it too much during this conversation. Instead, we talk about kind of what George has been up to since she released her debut album in twenty fifteen, and she's had quite a lot going on, from hanging out with the Flaming Lips and becoming good friends of theirs to clubbing. We speak quite a bit about clubbing. Georgia's dad is Neil Barnes, who is one half of Left Field, and that's probably as much as you need
to know at this point. Let's just play it. This is myself talking with Georgia, and anything else that's not clear I apologize for, but you'll work it out. You know, all of the people that we mentioned. If if we don't fully explain it, there's you know, there's Google and all that sort of stuff. So thank you for listening.
This is myself talking to Georgia and yeah, come to brighton ten am ten fifteen, let's say ten am for a ten to fifteen start juries in either myself or Greg one of us will be talking to self esteem and you will be able to see how the magic of this podcast works in front of your very eyes. What an exciting time for now, though this is midnight Chat's episode number seventy three. Are you a good flyer generally?
I sort of not really.
No, I've you know, my mum and dad took me on planes as a young kid, and you know, my dad's sort of touring and being a musician. We are, you know, I got to go to some places, so I was I was traveling as a young kid, but for some reason as I've got older.
Yeah, it's got a little bit worse for me. I don't know why.
I think it's just the kind of, you know, not not having a lot of space, and then.
The idea of knowing that you can't get off.
That's it.
It's the knowingly and and and my ears are quite sensitive, and it's sort of you know, I think I have come off this plane and my ears are slightly blocked.
So I think that's why. I was with my.
Brother earlier and we were just catching up over some lunch and he was like, you're really shouting.
I really am. I, Oh god, I'm sorry. I think it's because.
Well, we should say at the start of this podcast that you have literally flown back from the other side of the world yesterday from Australia, so thanks for doing this I mean, this is probably you're doing okay, the jet lag hasn't hit you yet.
No, I'm fine. This is what everyone keeps saying to me. The jet lag hasn't hit you yet, right, it's coming. That's that's more alarming. Actually, this is like this wave about to approach.
Did you have a good night sleep last night? Yeah, slept? Okay, maybe you've beaten it.
I think I've beaten it.
It's all about I think it's a lot is in your head as well. If you tell yourself that it's going to then of course you're screwed. It will.
And actually, you know from previous experiences, this whole thing of like, oh have I slept it off? I've only had five hours, so I need to have a bit more. This whole kind of anxiety around you know how much how many hours you've had to say, I.
Haven't done that this time. I've kind of just gone. If I sleep, I sleep. If I don't, I don't.
And actually, you know you've you've been, you've been you know, to parties where you know you've partied for like three days solidly with like three hours sleep, So you know you can do this.
Yeah, it's going to be okay, it's going to be fun, all right. So what was it you're doing in Australia.
So at the beginning of this year, I Jungle invited me out on their UK tour to support for them, and it was such a great experience and we kind of all became really good friends and it was like a touring family, and I think they just you know, they were like, will you come and join us in Australia too, And I was like, yes, let's make it happen.
How many is in your band at the moment, It's just me, yeah, because I saw a video of you recently with like a stand up kit. You had like a little trigger kid. Is that your stage setup?
That's my stage set.
So this whole new set of songs were really inspired by the early eighties and mid eighties era of when electronic music kind of met pop music in the UK and in Europe and in America too, And I guess what came with that was like the technology as well. It was suddenly in the eighties you get the rise of an SSL desk. Suddenly stuff becomes digital, Analog meets digital,
and it's really interesting tech for technology. And one of the things I noticed was it was like one of the first eras for drum triggers and the main brand were Simmons. And I remember watching this clip of Depeche Mode playing somewhere huge a stadium somewhere, and the drummer, I can't remember his name now, maybe it was Andy something was playing a Simmons kit standing up, and I was just like, that's fucking cool.
Yeah, there's something about a drummer standing up.
Look, well, totally, there's a it's amazing and you know, a lot of a lot of that era of eighties electro pop music, the drummers are standing up and playing, and then obviously like watching Prints and watching Sheila E playing standing up and kind of there's there's just an energy I guess you get from from it. But you know, it is a kind of real thing with drummers of like, don't play standing up.
You're going to really damage yourself.
You know, yeah, yeah you're again oh yeah, oh my yeah, yeah definitely.
In what sense like you're going.
To be because yeah, physically it's really demanding because you know, on your legs, you're putting more pressure on your legs, you're putting more pressure on your arms, there's more physical, the physical side of it is.
There's just there's a lot more. You know, you're not sitting down.
Your weight isn't in your bum, your weight is on your legs, and obviously one leg is playing and playing the kick drums standing up. So I have to as a result, I've had to, like, you know, really consider warming up and warming down and making sure that an hour before, two hours before I go on stage, I'm like doing yoga, I'm stretching, because you can really seriously hurt your you know, it can lead to well, it
can just lead to really bad things. You know, it could lead to you know, potentially like you know, bad injuries that make you know, can can harm your career basically, So it is a bit of a risk, but it's it looks.
Cool, Yeah, it looks really cool. Did you manage to see the David Byrne show last year at all?
Oh?
Do you know what? I didn't? And it was really annoying.
I got offered a ticket and I was I was in the studio and I couldn't go. It was I know, I know what you're exactly, you know what you're about to say.
I mean, all the musicians standing up and.
You know, well kind of took that kind of thing to a new it's called an untethered performance absolutely, yeah, which is exactly what it sounds like. But they kind of broke down the drum kit across say six people, well exactly, one person just literally had the snare exactly exactly.
It's almost like a dance piece really.
That's and you know, I think everybody knows David Burt, David Byrns kind of like amazing sort of left field approach to performance. And I guess you know, when you watch certain dance pieces, like you know, quite experimental dance pieces, they're they're sort of adding those sort of techniques. The company is all doing something that's adding to this whole collective experience. Yeah, I think, you know, dissecting it in that fashion is just really cool, really cool.
When did you start drumming?
Then?
What can you remember, like, at what age did you because drums was your first instrument, right.
Yes, yes, So there's a hard question to answer this one. I think it was around when I was about six or seven. I'm told perhaps my my dad's friend was a drummer. I should say that, you know, my dad was in left field and his other His other partner, Paul Daily, was the drummer in left field, and so I think the story is that I was my dad took me around to Paul's flat or whatever, and I and Paul had his kids set up in the in
some room. I went into the room and I just started playing, and I think Paul sort of said to my dad, you know.
She's really good.
Just naturally I couldn't. Yeah.
Yeah, And I do think like I was a teacher myself, so I taught some kids at one time, and you can just tell. You can tell some kids have this kind of everyone's got rhythm, but some kids just have this ability to kind of like coordinate with the drums, and you kind of think, oh, they kind of get it, you know.
When you're teaching kids. Though, I guess you're not to say that, are you. You have to say no, you can't say listen.
Well, I guess some teachers did in the back in the day.
I guess that was the guy like you've got it, you haven't got it.
You know, you might have it, but you have to work.
But you just had it, like it was just kind of in you.
Yeah, apparently, I just I just could do it, and it wasn't. It wasn't. So I do remember the feeling of just being like, this is the best thing ever, Like this doesn't feel hard to me. And then I guess that evolved into like, actually, you know, as I got older, actually you know, sitting down listening to drummers that I loved, or like reading certain drum you know, books music, because there's actually a whole you know, instrumentation,
a way of writing drum rhythms. So I got into a bit of that, and then it gets hard.
You know, that's the sort.
Of where you're really trying to develop your technique. We're playing, and I had some points where I was like, you.
Know, I don't think this is for me and the academics.
Yes, it starts to become a little bit like a chore, you know, but but you know, the end result is that you can play this amazing jazz rhythm, or you can play this kind of cool rock beat, or you know, you can play this feel, or you can play this paradid or you know.
So it's just like the process you go through of anything.
So I went through that, and then at the age of kind of nineteen eighteen, got into you know, played in my first professional band and then was sort of touring by the age of kind of twenty one twenty two, so it was, yeah, it was just a skill that I you know, I just picked up and kind of, you know, saw a way. It was actually my way into a music scene in London. I always felt like I wanted to be part of a scene, you know, and playing drums really kind of opened the door for me getting into a scene.
Was that particularly the kind of South London?
Yeah exactly, Yeah, exactly, Alan and Quest and.
Just that whole scene. Exactly.
How did you meet those guys?
Well, actually I went to school.
I went to you I went to school with a Landamara and Alan started going out with a guy and we were good friends. And she was like I think I was seventeen and she was eighteen. She was like, do you want to come and meet my boyfriend? And I was like yeah, and it was Quest, and so
we just became friends ever since. And then Alan started to play music and Quest was kind of already in that kind of South London Seed he was already friends with kind of you know, you're you're Adele's really young Adeles and and kind of Jack Pannarte and the kind of really young young Turks crowd and Alan was playing music, and so me and Quest became a Land's backing band, and then Alan and I became Quest's backing band.
Because around that time, Ques played his first show that he fronted, Yes at the Shall Yeah, were you in the back?
I was the drama okay, right?
That was And I've been told that was a really momentous, momentous gig for a lot of musicians, up and coming musicians. I think samf was in the audience. Samfer, loads of other musicians were kind of in the audience watching that gig because everyone.
It was great that gig. He was I remember him being super super nervous. Yeah, yeah, because he was singing for the first time.
Yeah.
Just he's quite a quiet guy.
Is in the totally.
I mean, I think for QUESTI I don't think he ever realized that actually, you know, he could he could actually really hold an audience on stage, and perhaps that you know, it was good that it was me and Alana's his backing band because you know, we were kind
of like very supportive. It was just amazing playing for them too, because you know, they were they were in this whole scene, and as a result, I got to meet all these amazing, amazing musicians and people who would go on to kind of really shape the UK scene now,
you know. I remember being at a boiler room really early on and it was it was a Young Turks night and Quest was DJing, and I think the billing was something like Hype Williams, Dean Blunt and then Samfer doing a little like mini set just with like a Corg mini and his voice. Then it was like Meeka DJing. Then it was like Jamie XX DJing. Then it was Quest,
then it was Hudson Mohawk. Then it was like Scream, then it was I remember like being in this room and thinking like I was just like, what is it.
I'm in a room full of all this talent? You know. It was kind of like quite. I always remember that moment, just.
Being like this is this is really nice to just sit here and just see all this talent, you know. And I guess for a long time I kind of was a bit like, you know, I was kind of just known as the Drama and I was kind of like, you know, I don't think people really knew that I was creating music behind the sort of closed doors.
Really like study wise, did you studied at so Ass, Yes, and you studied at brit School. Yes, it was brit School before.
So Yeah, Brit School was before so As.
And what is Britschool like? When you're there? Do you get like what is it like? There is there this sense that does the reputation of it mean that people think that this is going to happen for me because we're at the brit School and you come here and then you become adele or wine house or whatever.
Yeah, it's interesting. I've never really spoken about brit School.
I mean when I went so I went from fourteen so and I actually initially was in theater.
I didn't do music, and.
I just was you know, I was in a school before that that was just not very I wasn't very happy and it just wasn't really working out and I needed a change because I was getting into trouble. I got in with the wrong sorts of people. And so when I arrived at the brit School, it was like it was like something I'd never experienced before. It was just full of creative people, teachers that were very supportive and engaging and really thought provoking and you know, in theater,
we were doing plays about David Bowie. You know, we were doing plays about also about kind of you know, the Holocaust, and we were doing plays about then we were kind of doing you know, all the traditional kind of Shakespearean plays and stuff like that.
But it was like it was so arty, you know, and.
I don't never really experience anything like that before. And also it was so incredible about the brit school was it's free, you know, so you were with kids from all different backgrounds, you know, that all just shared this kind of love for something something in art.
You know.
So from that from the age of fourteen sixteen, I just had the best time ever. And then I chose to move to music. And I guess around that time, Adele had come out and sort of got success, real success, and you know, there was always rumors of very successful people that had come out of music, and I felt that there was a slight pressure from other people that that, you know, that we were all that they were all
going to be pop stars. And you know, and I think because of my background of like you know, my dad and stuff, I knew that actually it wasn't as easy as that. And you know, Adele was just incredibly like a one of one of a kind, and for me, I kind of went to music and I had a complete rebellion against pop music.
It was really odd.
I didn't I was like, I didn't really want to perform what the teachers gave me.
I wanted to perform like Sonic Youth and kind of like and you weren't allowed to do that. It wasn't allowed to do it.
Well we did, like, you know, we did Sonic Youth covers and I think the teachers were a bit like, you know, this is this is you know, perhaps Georgia needs to kind of have a bit of a rethink about And I don't know, I think I just I think, you know, the whole thing about the Brits School is is that there is that whole fame school around it.
But I think because of my previous two years of just having a fantastic, incredible mind blowing experience, I was always you know, I'm always very positive about the brit School. But you know, but the whole kind of fame school, the side of it is kind of like a little bit you know, it's but but also the fact is is that I was kind of performing as well so
that was fantastic. You know, I was given up. We were all given opportunities to perform, and that was kind of something that was really important because I guess now, you know, it's you know, I do, even though I suffer very badly from nerves. I'm kind of you know, you know, I've been performing since the age of you know, sixteen, So it's kind of it's amazing really when you think
about it. I mean, it's and I think it was a really really important school and it's set a real president in this country of that free performing art schools kind of massively important, and especially where the school was as well. It was in a really you know, quite poor borough of South London, and you know, hopefully it kind of gave the whole that kind of East Croydon, you know, Selhurst area a bit of a light, put it on the map a little bit.
Yeah, I think you know, Mike and Jemma were here. We're in your house at the moment, yes, say. They came here for a feature in the magazine about a month ago. And it's made my job easy for this because I could just read piece to find out what you've been up to. But one of the things that really stood out that you talk about in that article is how over the past couple of years you've learnt to go clubbing sober.
Yeah.
You talk about that with.
Him, Yes, I did.
Particularly the reason this intro in particular is because I'm quite like most people who have never been I'm quite fascinated by the Bergheim. Yeah, in particular. Yes, and you've obviously been, yes, and you've now been completely sober.
Yes.
Actually, let's just start with clubbing generally.
Yes.
When did you first go to a club.
As soon as I hit eighteen?
Did you?
Yeah? Yeah?
Yeah? Did you feel that like.
Oh gosh yeah, like oh yeah yeah yeah yeah, Like as soon as I hit eighteen or my eighteenth birthday, I was in the que for Fabric.
That was the first club, the first club I went to. That's a good one to make your.
Yes, yeah, I remember.
Do you think that comes from your dad? That interesting?
Yeah for sure, Yeah, absolutely, yeah, it comes from that
whole culture really, yeah for sure. And but you know, also, you know, my mum was just always at music festivals, you know, she was at like Isle of Wight and all these in so she was always talking about these amazing collective experiences in music, and so I think, yeah, totally, it came from my mum and dad and obviously like clubbing, you know, came from the you know, the types of characters I saw and you know, were quite close to me, that were that were kind of associated with my dad,
and I was always really fascinated by those characters, you know, the type of characters that were kind of like they was sort of like quite eccentric, you know, up for going out, you know, do a bit of this, do a bit of that, and you know that that was
kind of their life dancing. It was just like yeah, yeah, yeah, from that, you know, and they were like characters, you know, a bit like your Keith Flint's or like you know, and I was I was just always fascinated by them, you know, because they're quite incredible people.
Really. Yeah.
So as soon as I hit eighteen, I was I was straight in the fabric Q and I remember it actually I can't remember who was DJing, but I remember walking into that main room and thinking, wow, you know, this is just like this is amazing, but also feeling a bit like.
I'm super young.
I don't know if they you know, I don't know if because I do look really young, you know, and unfortunately I wasn't able to go out.
I did go to a.
SHUBs in South London now and see Scream and Benger, but that was another story.
I'd broke in.
Someone let me in to us in South Croydon, but that ended quite badly. We were to come out of that because I was like, I think there was a sort of like pretend shooting or something. So this was like a proper clubbing experience, and we were there till like six in the morning, you know, till the end.
So yeah, it started at eighteen.
Because you must have had in your mind what you thought it was going to be like, and like, yeah, the excitement of going to a club for sure. Fabric a world renowned club. From what you remember, was it what you thought it was going to be?
I think yes and no.
I mean my dad and my mum went to the opening of Fabric, and my dad always said back then it was the best sounding room in the world, and I think it was.
It was. They were like I.
Think Function one were like they were they were a particular Function one speakers and it was like the best sounding room in the world at one point. But I think when I went the old you know, it had gone through quite a lot of like.
Sellers sold and then new sellers are boys.
So so when I got there, it wasn't quite what I expected, but it was still like amazing just to see people on ecstasy and kind of just you know, dancing and kind of not caring and just having this total freedom. But but you know, but it was kind of in this controlled environment, and you know it was and all the kind of dark rooms and all the kind of colors people wearing neon, it was like a
bit of a visceral experience totally. But you know, the bergheind just completely was just like broke all my expectations because I've been told about it and I was like, no, you can't, you can't be serious.
So the burkeme we should explain to anyone listening who may not know what it is. It's it's probably the world's most famous club, isn't it. It's in Berlin. Yes, it's in an old power plant, and I suppose the thing that is the two things I guess that it's most renowned. For the guy on the door, the chances are not getting you might not get in. In fact, that's quite high that you won't get in, and it's quite gnarly when you do get in.
Apparently, well it's a gay club, you know, that's as well.
It's it's it's and is there one room?
Is there like a room like a like a sex there is a particular.
Totally yeah, yeah, yeah.
So when did you first go?
I think it was like it was when I was touring, so it must have been I must have been about twenty two, twenty three, you know, so it's not so long ago, you know, five five, six years ago, and.
You'd heard all of these kind of oh.
Gosh, yeah, well you know, everyone who's interested in the Burke Eye hears all these myths and all these kind of crazy stories, and and I was like, you got no, you know.
Don't be ridiculous. And a part of me was like, oh my god, really I.
Want to go and experience that.
And and.
You know, it totally exceeded all my expectations. I had the best two nights of my life, and and.
It was it was just like we got in for to get well, actually we didn't cueue for that long.
I mean, because I was with somebody who who had been before and was also friends with the owner, which is also That's another thing to mention is that the owner is a really important figure in the whole Berlin Rave kind of club being seen in Berlin. He's a he's a very like Maverick character who believes, who has very strong ideas of clubs and what a club should be and how it should present itself and how it
should be a freedom of expression. But that freedom of expression, obviously, like with its rules of how you know, not letting people in, has been quite controversial.
But like that paradox, this is a place of complete acceptance.
But yeah, you have to be in a yeah exactly.
Not for you totally, but I kind of respect I don't know, I mean, it's really it's a hard one, but I do sort of respect it in a way because also you have to think about the people in that club expressing themselves in a certain way and being safe to express themselves in a certain way. And if you're going to let in any old you know, Tom Dick and Harry and suddenly loses.
That especially tourists just want to.
Well exactly, and Burghine is going to be protected by the whole of the DJ community because not only that it's just like for a DJ to play the burghind is like a real like you know, I've made it moment or Panorama Bar. You know again, Panorama Bar is like you know, to play that is like you know, I'm here. You know, I think that's a real moment for a lot of DJs. So it be forever protected, I hope, you know, by the DJ community. But no, it totally changed. It changed my whole perception of clubs.
And and then you know, when I went about three four years ago, I was I stopped drinking. So I did one trip to Berlin where I went to the berghind sober and actually found it quite amazing.
But I didn't last very long. You know.
You know, you get to about sort of three o'clock and you're a bit like three o'clock in the morning, I should say, and you're a bit like really struggling, and there's only so many club martes that I can drink. But there are other clubs in Berlin that I went to with my so As friends. In fact, because so As was quite quite a sort of you know, my university experience was really like kind of drug exploration time.
As his most.
People's university experience, and so I met again another group who are like my best mates, and we just sort of, you know, danced and did all sorts and you know, so I went with them to Berlin on this one trip. My friend's partner is a really amazing DJ called Gato Fritto, and he was DJing at this club and I've forgotten the name.
It begins with an oh.
I think it was Ramada Ramada or something, a really amazing club in Berlin. And I was completely sober. And it was the first time actually, because the burd kind sometimes the music can be very full on, and of course everything else is so you know, visual, and it's all a bit it's I found it a bit much sober actually. But this other night that I went to, the music suddenly was just like for not. I suddenly was like in the middle of the dance floor, not
caring that I wasn't on anything. I was just like wow, and all these people dancing and it was just a real moment. That's what about what the dance floor is about. It was just it was I can't you know, it's.
Hard to explain.
Really, It's just this you feel when there's this collective moment of people that you don't know, you wouldn't see them again, but you feel like one raving and it's it's that cliche, but but I hadn't felt that before, but this time it was kind of.
Felt kind of almost like therapy. Really.
I mean, this is all kind of fed into your second record. We're not had to speak too much about your second record just yet, but I mean your first one was twenty fifteen, which is it's not forever ago, but it's long enough ago for it to feel like quite a long time.
Yeah, yeah, no it is.
And you were twenty one when that came out.
Yeah, yeah, yeah.
When you think back to that time of putting out your first record, yeah, what do you What are your kind of memories of it and how that experience was of putting out a debut album.
Well, I was, well, I was a little bit older than twenty one, right, I was, like I started writing the record when I was probably when I was about twenty one twenty two. The album came out when I was twenty four, but it was, you know, it's really it was kind of like just an experiment actually, you know, and I was sort of going through quite a lot and i'd you know, I didn't. I'd been because I've been session drumming. That was the sort of main focus.
But then I played a couple of people what I was writing, and they said, well, this is really good and you should maybe focus on this actually, because you know, if you really worked on this, I reckon people would really dig it and you could, you know, you.
Could perhaps have a bit of a career in this.
So then I took it quite seriously and I kind of locked myself away in the in the studios that I tried to, you know, use my dad's studio at night, and then I remember using Hot Chips studio like like in central London, and then I was using some other student but you know, and it was all a bit of an experiment, of an expression of kind of no discipline.
It was just like throw everything at it.
And it was quite a mad time because my parents were breaking up and it was yeah, it was just it was all a bit of a crazy, crazy time. And the album kind of reflects that, I think a little bit of a window into what could be, but it's not that accessible because I think it's just very like, you know, there's so many textures to the songs.
I love that album. I really do.
And actually it's all part of this journey because with the first record, I didn't feel it was that accessible. Really, it's got a really interesting sound to it, but the accessibility is not It's a very niche sound. And so with this second record, I really wanted it to sound a bit more like So and So could hear it and be like, Oh that's wicked or So and so good.
You know, it's really worked, isn't it? Like the two I mean I've heard that. I have heard the whole record, but the two tracks that people will have heard that are out there, Yes, they've been doing really well, like Radio one place, which no, it's still a huge thing, isn't it. Like getting on a Radio one list and getting getting your single page is massive.
Totally, And you know the first record never did that, you know, it was quite it was a very underground record, you know, Which is which is I? You know, I I love that piece of work, I really do. But for me, every single part of this is like I want to develop. So even now the second record, I'm like, I know what I do for the third record.
And in that interim as well. Between these two albums, you've been writing with Flaming Lips, haven't you. Yes, they live in Oklahoma.
They live in Oklahoma.
Yeah, well Wayne and Stephen and Derek and some of the other band members Nick and yeah, they live in Oklahoma. Some of the other players live in elsewhere, but no, Wayne resides in yeah.
Oklahoma City.
So how did you get to know those guys? That happened?
It was an amazing story.
Actually, we were playing Wilderness Festival and the Flaming Lips were headlining, and we were on at a really early hour and I think people were just sort of waking up.
So we didn't have that early day.
Yeah, it was like twelve o'clock on a Saturday, but it was like you could clearly see that people were still were kind of like hungover and just like getting their breakfast buns or whatever. And we were on the main stage and we uh And it was when I had Henako Maurium in the band, and and me and Hanako were kind.
Of like, oh this.
We were looking at each other going this is this is a bit of a push, this is a bad one. And suddenly I looked to the left of me and I was like, fuck, that's way in Quint just like losing a shit to one of my songs, and I was like, I was so surprised. I actually stopped the track.
I think I stopped the chat and I was just like, I'm sorry, like Wayne coy is sounding on the side of the stage like losing ship.
And then basically we got off stage and I was just like, where's where, you know, and I went to the backstage bit and I just immediately went to it and I was just like, that was the best moment ever. Thank you. That saved honestly because it was such a it was a bit of a bad show. And Wayne and it was like he was like, gosh, you know, it's cool ship and you know, would you you know, would you write? He was really interested in in the
whole process and the music and he loved it. And then that went to come and join us on our UK leg.
So we did that. We supported we did.
Not only UK but did Europe with them, and then from that I basically got a unicorn tattoo with them all.
Really yeah well on on that tour, yeah, it was called there will be yeah wow. So you've all got the matching. We've all got matching, you know, you and the rest of the flame. Yeah.
In fact, I've got another tattoo that me, Wayne and Katie got as well, and it was part of their engagement party thing that everyone got this love skull tattoo.
But yeah, that went from me becoming really good friends with Wayne and his wife Katie, and then Wayne invited me out to Oklahoma to start, you know, kind of collaborating, and that's gone on to now have been about four times, and I'm planning my next trip, but it's kind of been on hold because Wayne and Katie are expecting their first child, so which is due any kind of time this month actually, I think the beginning of April or something.
But they've just become like Wayne's become such a close friend of mine and Katie has two and actually, you know, he's just he's an absolute creative enabler. He's one of a kind person and I truly truly mean that. He's you don't just go and create music, you go and get a sense of like this whole world this man has created with art, and you know, and anyway, he would hate me talking talking about him like this because you know, he would just say, well, we just you know,
you got to do what you fucking gotta do. And this is you know, we didn't have much and you know, we didn't have money, but we just made this this world for ourselves, and you know, and it's easy to do. You just got to do it.
So that's the.
Kind of energy you're getting off him. It's just like, just fucking do it, if you know. And and and actually, you know, I really feel like I have kind of taken taken that advice on a little bit, and you know, it's really inspiring.
That's nice to hear that he is exactly as I would imagine him.
He's the nicest man in music.
Do you realize by flaming lips as I'm embarrassed as by how cliche this is. But that's the song that makes me cry. Yeah, whenever I hear that song. Do you have a song like that?
Yeah?
For me, it would be Waiting for a Superman And it's actually on The Sorcerer's Orphans. He Stephen dissects that song, and that song makes me cry because it's I mean, Wayne Stephen and Wayne's sort of songwriting partnership is such a great partnership because Wayne, because Stephen's like a musical genius, right, But but Wayne has this kind of incredible lyrical approach and it's the way he delivers it and voice, you know, and his tone is a very unique tone. And Stephen
obviously writes in the key to him. So when when you when he dissects a song where he has to like take it up a few keys to Wayne's, the song becomes Wayne's song, you know, And and you know that there are there are very there are voices in the world where that can make you cry. But I think Wayne particularly has a tone where, because he's just totally singing from the heart, you can't help but get emotional.
And waiting for a Superman is for me, is just you know, it's it's it's it's a total example of that. You know. It's just one of the most beautiful songs I think of that kind of era of music.
Are you generally like a good crier when that moment happens? Do you just go with it or do you do you find it?
No?
I don't. With the music. I mean music.
I have a very emotional connection with the music and I always have as a kid. I can remember even like crying to you know, Mama by Spice Girls. You know, It's like music's always been a very emotive thing for me, and and you know, there are certain there are certain songs that yeah, I just.
You know that will make me, that will make me really cry.
Yeah yeah, And and it's best to just let it out, isn't it. I'm quite bad at that, yeah, especially it happens to me most when I'm at shows, especially if I'm at like a festival. Yeah, I'm at a festival, and sometimes it'll be a song that I never kind of felt that about before, but just in the moment and I'm there, Yeah, i'd my face and someone to see and be like crying.
Yeah. No, really, we're going to have to, like I have to see you at a festival this year and be like we'll both be like crying together.
I think festivals should be an emotive.
Yeah, it should be, right.
That's when I.
Think when you go to festivals and it's not emotive, that's when I'm like, this is not this is not a great festival. This is just like you know, I think Glastonbury everyone will have cried at some point during that weekend.
Definitely.
I mean not only because they've you know, going through kind of like mad drug experiences, but definitely they would have gone to have seen one of their favorite bands with their best friends and they're standing there having this amazing and yeah, you know you're going to be crying.
That's what it's for. Did you go to Glastonbury really? Like, did you go as a kid?
I went once as a kid when left Field headlined the other stage. Yeah, and that was sort of I can't really remember it, but all I remember it was like feeling incredibly proud.
Of being there with my mum and seeing there.
I mean, I was just like, I remember being on somebody's shoulders. I was always on somebody's shoulders, you know, And I always had a left Field T shirt and I was always like the mascot, you know, the little mascot.
And I remember looking behind me and just not seeing the people.
End.
It must have been like eighty thousand people there to see that show, and it was an incredibly special show because it it was like the prime time Saturday night like sunset, you know, other stage, dance music, people on lots of drugs, and I do remember that as a kid in it being like, wow, this is quite a special moment.
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