Latest / STAR FM Rocktalk / Nothing But Thieves: Fehler erwünscht

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Nothing But Thieves: Fehler erwünscht · STAR FM Rocktalk

• 0:00
  Hi, hier ist Simon und willkommen beim Starfm Rock Talk.
• 0:03
  Bei uns im Sender ist eigentlich immer was los. Und wir haben andauernd Besuch
• 0:07
  von richtig großen Bands.
• 0:09
  Und natürlich zählen wir die direkt vor das Mikrofon und finden raus,
• 0:12
  was bei ihnen gerade so abgeht.
• 0:14
  Aber wir hören auch zu, wenn es um legendäre Erlebnisse oder lustige Anekdoten geht.
• 0:19
  Und letztens, da hatten wir Dominik, den Gitarristen, und Connor,
• 0:21
  den Sänger von Nothing But Thieves hier bei uns im Sender, die aktuell ihr viertes
• 0:25
  Album Stray Dogs am Start haben.
• 0:27
  Und das verfolgt tatsächlich einen ganz anderen Ansatz als der Vorgänger.
• 0:30
  Es soll den Live-Sound der Briten im Studio einfangen.
• 0:33
  Warum das ein bisschen wie eine Ehe für die Jungs war und warum es vertraglich
• 0:36
  festgehalten ist, dass Connor immer der Lauteste in der Produktion ist,
• 0:40
  verraten sie uns im Talk ebenfalls.
• 0:42
  Ach ja, und außerdem geben sie uns einen Vorgeschmack auf ihr neues,
• 0:45
  mysteriöses Bühnenkonzept.
• 0:48
  Also, viel Spaß beim Rock Talk mit Nothing But Thieves.
• 0:52
  Star FM Rock Talk.
• 0:59
  Conor und Dom, willkommen zu der Starvem Rock Talk. So nice to have you here.
• 1:03
  Thanks for having us, mate. When was the last time you've been to Berlin, actually?
• 1:06
  Oh, God. It would have been for maybe our European tour a few years ago for Welcome to the DCC.
• 1:14
  We did that tour. Must have been. So maybe like two or three years ago now,
• 1:17
  three years ago. That long?
• 1:19
  That's horrible. That's so quick. It's so funny. You always like,
• 1:22
  you know, you see cities like in chapters, right? I mean, every time you go
• 1:28
  to a city like Berlin, it's like a new chapter for you because you're coming
• 1:31
  with a new album and you have always something new to talk about.
• 1:34
  Yeah, but then you look at the timeline of your lives and you feel like you're
• 1:39
  ageing so quickly because most people do age by years, but we do age by album
• 1:44
  cycles and they take like three years.
• 1:46
  So we're like ageing three times faster. The fact that you just said it's,
• 1:50
  well, you said it's been two or three years, blows my mind.
• 1:53
  It feels like it would have been yesterday, you know? Wir sind hier ziemlich
• 1:56
  viel, aber wir haben hier vielleicht 30, vielleicht mehr.
• 1:59
  30, 30? Wir sind hier 60 Jahre alt. Ja, wir haben hier ein paar.
• 2:03
  Ja, das geht nicht wirklich mit der ganzen Album Cycle, man.
• 2:05
  Es muss sich ja auch ein paar Jahre alt. Wenn wir erst angefangen haben,
• 2:08
  wir kommen über zu Deutschland, wir würden von London in einem Van fahren.
• 2:12
  Ich habe eine Tour. Oh, Jesus. Über den Nederlands und so. Ja,
• 2:16
  ich habe eine Tour angefangen, in Walsall.
• 2:20
  So wir haben eine drei-Jährige fahren, in Polen. In hindsight,
• 2:23
  vielleicht sollte es sein. Maybe finished. Remember that?
• 2:27
  But that was at the point where I think our booking agent had a map on the wall
• 2:31
  and just some darts. Someone was just throwing the darts. Let's do this.
• 2:36
  Anyways, you guys are here with your new album, Stray Dogs, which is coming
• 2:40
  out in September. And maybe you could start by telling me what,
• 2:43
  in your opinion, defines it as an album.
• 2:46
  Well, when we first sat down together in our little studio, it was quite obvious
• 2:51
  and evident. Wir alle wollten das gleiche, wirklich, was machen,
• 2:55
  was etwas so live und rock und band in a room wie wir könnten.
• 3:01
  Wir hatten das als ein Ziel von einem Tag ein. Wir hatten nicht wirklich das
• 3:06
  Ziel, aber du musst du machen es und paint den Rekord.
• 3:08
  Aber das war der Defining Startpunkt, wie wir es machen, wie wir etwas machen,
• 3:12
  das wir das machen, was wir live machen und Translate das auf die Rekord.
• 3:18
  Ich würde sagen, das war das erste Ziel zu head durch.
• 3:22
  Das ist schon so anders aus, wie ich denke, was Ihr approach für die letzte Rekord.
• 3:27
  Das war eher eine Artistik-Outlet, weil es ein Konzept-Album war und da war viel behinder es.
• 3:34
  Das ist ein komplett Veränderungsgericht, richtig? Absolut. Ich denke,
• 3:38
  das letzte Album war, von design, sehr refined und sehr.
• 3:45
  Genauer in alles, von dem Konzept zu der Produktion zu, wie wir unsere performances treating.
• 3:53
  Und wir einfach nur wollten all das und einfach flipen es auf den Kopf.
• 3:58
  Und wie Sie wissen, wenn Sie zu
• 3:59
  einer unserer Gigs haben, sie sind nicht perfekt. Sie sind nicht perfekt.
• 4:02
  Und ich denke, dass wir zu einem solchen Faktor haben, die essence von uns,
• 4:05
  die wir sind, in unseren Live-Performanzer haben, das war was wir gerade so
• 4:09
  gemacht. So, wenn Sie das hören und sagen, dass es nicht so gut ist,
• 4:13
  dass das Intentional ist. Ich promise nicht für eine Re-Fund.
• 4:17
  Du eigentlich wissen, dass es Mistakes auf den Album ist? If you listen back
• 4:21
  to it or while producing it, well, I mean, you're producing the whole thing.
• 4:25
  You probably are the number one person to know about mistakes.
• 4:27
  Any mistakes on the record, Dom? At all?
• 4:30
  None. Yeah, no, it's funny.
• 4:34
  When you're doing a record like this, you kind of have to work out what your tolerance is.
• 4:39
  So at the start, it was knowing how far you take tightening everything up or
• 4:45
  how much to leave things.
• 4:46
  And it's a tightrope to walk that Because you can make a very,
• 4:50
  very different record if you strafed one way or the other. So it was just finding
• 4:56
  out what our balance was between us on that. That's great, yeah.
• 5:00
  So we're not talking about proper mistakes. We're just talking about not cleaning
• 5:04
  it up as you might do it with such a sophisticated record like you did before. Yeah, there's no...
• 5:11
  You can kind of edit something to like an inch of its life.
• 5:16
  And unless you're on that side of the recording process, a lot of people won't know.
• 5:21
  They'll listen to a drum track and they'll go, that sounds like someone playing
• 5:24
  drums, but every hit would have been doctored and manipulated and changed to be consistent.
• 5:31
  But you'll listen to it as a listener and be like, that just sounds like really
• 5:34
  good drums. As a drum, yeah.
• 5:37
  And there is merit in that. We've done it before But,
• 5:40
  we didn't do it on this record So if I'm not mistaken You recorded this one
• 5:44
  at Angelic Studios as well Where you also recorded your debut record Yeah So
• 5:49
  this also probably helps This kind of mindset you were going in, right?
• 5:53
  Because did it evoke old feelings Like when you were recording the first one?
• 5:57
  I think we went there Because it's an affordable day rate To be honest Am I
• 6:02
  right? I can safely say it's not It's not, that's the irony thing It's not.
• 6:08
  I think we were definitely hit by a flood of nostalgia when we were there.
• 6:12
  You know, the scenery, the food, where we were staying.
• 6:15
  It's beautiful and it does take you back. But it was a bit of a shock because
• 6:19
  10 years previously you were the ones on the sofa checking out.
• 6:24
  The engineers and the producers were telling you what to do and you're just
• 6:27
  starry-eyed, like, okay, let's try that.
• 6:29
  Trying to soak everything up. Whereas you're, obviously Dom's,
• 6:33
  at the very front of the ship, but you're always on. You're always like,
• 6:37
  the band is always on, figuring everything out all the time.
• 6:40
  And that was a different thing to put the trust in us.
• 6:43
  You know, it makes you feel like, for one, that you've got a lot older,
• 6:47
  but the responsibility of it. And yeah, you're coming back with that responsibility
• 6:51
  and the kind of knowledge. You've learned a lot over the decade that's been
• 6:55
  in between those albums.
• 6:57
  And we've learned a lot and there's probably a lot more to learn as well.
• 7:01
  Especially, I mean, new with properly producing this record.
• 7:05
  What's some of the learnings from the last 10 years that went into this record?
• 7:10
  What's something that you specifically do as a producer?
• 7:14
  I think my style is, I like to know where I'm heading, so I like to get the
• 7:20
  demos in a very, very clear state of where they're heading.
• 7:26
  I think that really, really helps me visualize the final product a bit and make
• 7:32
  sure that we know where we're going but also I think prioritising the vocal at all times,
• 7:38
  whether it's a tone that you're picking on a guitar or changing a kick drum
• 7:44
  pattern in the drums I want to make sure that it's not treading on the toes of the vocal,
• 7:49
  so just keeping that on the forefront but also Connor's put that in the contract
• 7:53
  with me so I have to do it No way really,
• 7:57
  Loudest at all times Ja, wir haben 15 lawyers von New York.
• 8:02
  Wie ist es für dich, zu haben, eine Produktion zu kommen, die ein Freund von
• 8:07
  dir und auch ein Band-Mate? Just Workmate, nur nur die Freundschaft.
• 8:11
  Kann man sich die Unterschiede an?
• 8:14
  Ja, of course. Dom approaches die Produktion so openly, you know what I mean?
• 8:20
  Wir sind alle Best Mates, am Ende der Tag, machen wir dieses Rekord und es ist alles ein Laugh.
• 8:24
  Also, wir haben die Working-Relationship, wo wir alle listen zu einen anderen
• 8:28
  Ideen hören. Es ist wie ein Marriage.
• 8:30
  You have to make the space for your teammates. Some marriages do end.
• 8:38
  I was laughing because it was like, but yeah. No, it's, it's,
• 8:42
  it's, you, we all listen to each other's opinions. We hold the space of that.
• 8:46
  And then, you know, you try something out, you work it out.
• 8:48
  It's not like a dictatorship. Dom's not like, we're doing this.
• 8:53
  Well, it's more of it like when we're writing, the boys are in the room with
• 8:57
  me and we're doing, we're creating that song together and we kind of all have this shared vision,
• 9:04
  and actually I think it's good at that point that we really push it in the direction
• 9:09
  that we kind of communally want it to go because I think if we wrote a bunch
• 9:12
  of songs on an acoustic guitar and then we're like let's go and record them
• 9:15
  you know somebody might think it's going to sound like Pearl Jam and someone
• 9:18
  might think it's going to sound like Spice Girls whereas when we've got demos
• 9:21
  you know we know they're all going to sound like Spice Girls It kind of ends
• 9:24
  up in the middle doesn't it?
• 9:25
  Always Ich glaube, es ist gut, dass er das Geräusch ist, dass er das Geräusch
• 9:30
  ist, dass wir in der Demo gearbeitet haben, wie Dom sagt. Er ist einfach,
• 9:32
  dass er das Geräusch ist, aber es ist das Geräusch ist.
• 9:35
  Aber ich habe es gelobt, es war wirklich... Es war gut, es war einfach,
• 9:39
  dass es in der Lage ist, in der Lage ist, dass es das Geräusch ist.
• 9:42
  Es war wirklich schön, ja.
• 9:43
  Hat es geteinander, über die Jahre, working zusammen? Ja. Jetzt haben wir ein
• 9:47
  paar records, ist es eher, wie du...
• 9:50
  Well oiled machine or do you still feel sometimes you stumble upon the writing
• 9:55
  process like you were like a young band?
• 9:57
  I think you have to you have to you have to rub up against each other occasionally
• 10:02
  because otherwise it would just be one person's vision for everything.
• 10:06
  Like that's what makes the magic is there's three of us who write and sort of
• 10:11
  steer the ship and we all have different tastes and opinions a lot of the time.
• 10:15
  Und dann das RUB creates something together und dann we find what we want to
• 10:20
  make together und ich denke, das ist das die beauty of what we do als Band,
• 10:22
  really. Ich denke, in der writing process, at the start, there ist ein lot of imposter syndrome.
• 10:27
  Du denkst dir zu dir, wie wir ever going to write a song like X, Y & Z again? Und das,
• 10:36
  Das ist ziemlich daunting und das geht nicht, aber ich denke,
• 10:38
  das ist vielleicht ein guter Ding. Es gibt keine dieses, wir deserve zu sein,
• 10:42
  wir sind hier, wir sind hier, wir sind hier. Es ist einfach der complete opposite.
• 10:46
  Das wird kommen in ein paar Jahren, du hast es. Vielleicht morgen.
• 10:50
  Exactly. Vielleicht jetzt, see you later, I'm going.
• 10:55
  So maybe you could tell me ein bisschen mehr about the songs on this record.
• 10:59
  Ja, ich meine, wir starten writing it probably like a Jahr und ein halb ago,
• 11:02
  at the start of 2025 and we had a studio in East London and we were just,
• 11:09
  as Connor said we sat down and we said look we want to do something a bit more
• 11:12
  raw, a bit more organic, a bit more that represents our live sound so a lot of eyes were kind of on,
• 11:18
  what do we do live and how do we translate that and then the songs themselves
• 11:23
  kind of started falling out, we probably wrote about maybe like 20 songs or
• 11:27
  something like that for the record, we tried to write,
• 11:30
  normally we write way more but we had a short amount of time to write this record.
• 11:34
  But that sort of leads you to then pick your favourite ones.
• 11:39
  Which can be difficult, but this album definitely presented the best ones and
• 11:43
  we were all pretty certain we knew what to record.
• 11:45
  How do you choose? Are you just listening back to back all the songs and then
• 11:50
  you think, okay, this might not fit the mood on the album?
• 11:55
  How can we imagine you guys choosing which of those 20 songs will make it?
• 12:00
  Es war nicht ein crazyer Debate und ich kann nicht erinnern die letzte Zeit,
• 12:03
  es war. Du gehst zu dem Ende der Prozess, du wirst du in einem Woche oder ein
• 12:07
  paar Woche, und du wirst du die Songs haben, die zu den Toppen gewonnen haben.
• 12:11
  Der Pile, wirklich. Es war keine Ahnung für eine Song, dass sie es war.
• 12:17
  Die drei von uns wissen, wenn etwas ist gut genug und wissen, wenn es nicht da ist.
• 12:23
  Es gibt noch einige von der Writing-Prozess, die wirklich cool sind.
• 12:27
  Wir haben einfach nicht getroffen, wenn ich ehrlich bin.
• 12:30
  Weil du hast zu einem Punkt, wo du endst und starten die Rekord.
• 12:34
  Aber das ist cool. Das ist Teil der Prozess. Das ist die little chapter,
• 12:37
  wo wir waren, was wir inspired by, was wir wollen, was wir,
• 12:41
  musically and then and you put that on the record and you move forward so yeah
• 12:46
  you just kind of know where you're at basically before you go in what happens
• 12:49
  to like the ones you don't use did i mean doesn't it feel
• 12:52
  like weird to like put like effort into something and then just like you know throw it away,
• 12:58
  no i think that's kind of like an important part of our process is to not become
• 13:02
  too attached to stuff you need to like stand back and look objectively at it
• 13:06
  um so and also i've learned from
• 13:10
  just being the guy that sat at the computer because obviously when,
• 13:14
  the guys leave from the writing session I often will try and fix stuff up and
• 13:19
  change stuff and experiment and then they might come in the next day and be
• 13:21
  like why have you done that?
• 13:23
  That's terrible. That's horrible things to say. It's when they start throwing
• 13:28
  the banana skins and the tomatoes that's when it's...
• 13:31
  Fool. I start... Yeah, the chance. It's the chance.
• 13:35
  They really cut at me. Yeah.
• 13:37
  You have to leave. You have to be able to literally delete what you've done and not feel anything.
• 13:45
  So that's quite a good little ego removal technique.
• 13:50
  Also though, I think we've gotten better at remembering something that might
• 13:55
  have been good from a demo stage that we couldn't quite finish,
• 13:58
  whether it's just a line, a lyric, or a certain melody, or even just a little
• 14:01
  riff, and we'll go, we'll try that again next time around.
• 14:05
  It doesn't always work out, Aber es ist gut zu wissen, dass das ein cooles Idee war.
• 14:10
  Wir können definitiv versuchen, Dinge zu übernehmen, dass wir halbiert haben.
• 14:13
  Wie wichtig sind die Dinge,
• 14:15
  des expectations von, not you guys, but other people who have an idea about your song as a band.
• 14:21
  Is this something that plays into choosing what songs might end up on a record or not?
• 14:27
  I would say it has very little to no impact on what we do. That is amazing.
• 14:32
  It's a very humble thing to say.
• 14:34
  Well, I think it's more that we've always been that way and if it doesn't excite
• 14:38
  us or give us some sort of emotional response then it's not going to go anywhere.
• 14:42
  So we're just constantly making sure that we're excited about it. That's it.
• 14:46
  It's as simple as that. It's as simple as that. We just create the art,
• 14:51
  quote unquote, for ourselves. That is it.
• 14:54
  You obviously, you know, you get, we're with a major label. You get pressures,
• 14:58
  to do certain things to keep up what you did before.
• 15:02
  And we just try and focus on ourselves and just create, like Dom said,
• 15:05
  create what we want to create that makes us feel good, excites us.
• 15:08
  And then the rest is sort of up to fate.
• 15:13
  I think if you took yourself on the other side of the fence one of my favourite
• 15:18
  bands is Queens of the Stone Age right and if someone said what do you want
• 15:22
  Queens of the Stone Age to do next,
• 15:25
  imagine me giving them a brief on what they should do with their next album,
• 15:29
  you don't get their best records because there was like a survey done why would
• 15:34
  you want them to do the same thing as well like,
• 15:37
  be derivative of something you've already heard no one knew they needed in Rainbows
• 15:42
  by Radiohead a record like that not only hadn't been made by Radiohead before
• 15:46
  but by anyone so I think you have to,
• 15:50
  honour that and an artist may not make your favourite record next but,
• 15:55
  es Teil der Revolution und der journey und nicht lose die alten alten, dass du welche.
• 15:59
  Ich denke, das ist das was ich den meisten der Erfahrung. Ich habe reflektiert es recently.
• 16:05
  Wir haben always, zwischen den drei uns, wir haben dieses melting pot von Ideen
• 16:10
  und never listen to any outside noise oder in what's trending musically or anything.
• 16:15
  We haben just created in our capsule, in our bubble always.
• 16:20
  I think I'd just like to stay that way forever, creating with Lease bands start
• 16:25
  a band to get famous these days Because those days are over It's not like the
• 16:30
  1970s anymore And you get massively rich,
• 16:33
  with music So that's my butler.
• 16:38
  Please He hasn't paid him yet.
• 16:44
  You start by doing it for yourself Because you want this music to exist Because you love it, right?
• 16:49
  That's literally it And that's what we try and stick to Hopefully for forever,
• 16:54
  Und so far, es funktioniert gut für euch. Ich meine, du bist über die größte
• 16:59
  Headlining Tour. Du hast so far gespielt. Du bist mit 10,000 Leuten in die Zeit. Wie macht das das?
• 17:06
  Es ist mehr und mehr surreal, die ist weird.
• 17:09
  Ja, es ist wunderbar und fantastisch. Aber es ist kind of crazy,
• 17:13
  weil du denkst, dass du dich mehr accustomedst zu werden, die länger du bist.
• 17:17
  Aber es ist nicht das. you almost again get this imposter syndrome and you're
• 17:21
  like, hold on, how are we playing this many people in Berlin now or across Europe
• 17:25
  or even in Mexico we played an arena last year and we were like, how has this happened?
• 17:31
  So you're almost fighting for your right to party, which I feel like would go
• 17:37
  down very well at Star FM but you're fighting for your right to be at those venues and,
• 17:45
  it almost amps up your work ethic and makes you want to be the best band you
• 17:49
  can be so you not only stay in those places but,
• 17:52
  every single person that comes to that venue is just like oh they do belong
• 17:55
  to be there and they did you know they enjoyed it and they don't ask for a refund
• 17:59
  because it's quite a complicated administrative process.
• 18:01
  Yes it's very hard to do after you've been to the concert It was.
• 18:07
  Quite particular with Germany it was early on it was one of our slower growers
• 18:12
  as a market you know musically and we Wir waren wirklich, wirklich hart mit unserem Sony Team.
• 18:18
  Und sie waren gesagt, wenn Sie hier alle Zeit, Sie sind die Arbeit,
• 18:21
  Sie sind die Leute, Sie sind die Leute, Sie werden die Leute,
• 18:25
  Sie werden und sie werden mit dir.
• 18:27
  Und wir wirklich, wirklich wollten in den Effort zu growen, die wir uns auf
• 18:30
  der German Fanbase haben. Und sie waren right, sie sind die loyalen,
• 18:34
  craziest Fans wir haben. Every single Show geht's.
• 18:38
  Es ist unreal. Und wie Dom gesagt, ich bin wirklich stolz, dass wir die Growth-Grohnte.
• 18:44
  Und zwar in small arenas zu arenas in Deutschland. Du musst es,
• 18:48
  du musst, du musst, du musst, du musst, du musst mit der Fans und der Fanbase.
• 18:52
  So, ja, ich bin wirklich stolz von der Arbeit we put in für das.
• 18:55
  Wie hat es verändert, wie du ein Live-Show approachst?
• 18:58
  Ist es, wie man visualer, oder wie man, die intensität, wie du ein Live-Show machst?
• 19:05
  Ich meine, für uns non-musikanten, es ist immer ein abstractes Ding,
• 19:09
  wie man, wie man, wie man, ein Live-Show macht.
• 19:12
  Yeah, I mean, compared to the small venues, I think the big difference is that
• 19:16
  the speakers and the PA just has to be a lot louder, doesn't it, in a big venue?
• 19:21
  Yeah. Scientifically peruvial. There you go, that's all you need to do.
• 19:26
  I also think, aside from that, we're trying to now look at ways that,
• 19:29
  because the shows are getting longer, you know, an hour and a half plus,
• 19:32
  we're trying to make ways that it feels a bit like a journey without sounding too cliche.
• 19:36
  You want to feel like it takes you from A to B and have some rug pull moments.
• 19:41
  Almost be like, how did I end up here?
• 19:43
  You want someone to look at their camera roll if they've been taking photos and go...
• 19:47
  That looks like a different gig at one point with the production changes or
• 19:51
  like, you know, you kind of want scene changes and it's a feel like it has natural ebb and flow.
• 19:56
  So you can do that with the set list. You can do that with transitions.
• 19:59
  You can do that with the production. So we're talking about all that stuff now
• 20:02
  and we're like four months out from those gigs or whatever it is.
• 20:05
  So it's a lot of work going into how you create that kind of change throughout the set.
• 20:10
  We've also been playing a lot of intimate club shows recently,
• 20:15
  which we've not done for a long time, and that's been quite inspiring.
• 20:18
  It's been fun, hasn't it? It has, and it's also just really reinvigorates what
• 20:22
  you like about music and sort of connecting with the fans from a stage perspective.
• 20:26
  And that's really hard to do in an arena.
• 20:29
  It really can be quite disconnected and it can feel cold.
• 20:33
  So just trying to figure out ways to make it feel more intimate and more alive
• 20:38
  und es könnte auf den edge von einem mehr Chaotik wie sie sind in Club shows.
• 20:42
  In Club shows, kann man passieren. Und man kann...
• 20:46
  Make a dozen mistakes and it doesn't matter because you're kind of in that sort
• 20:49
  of that moment. It's kind of wild.
• 20:52
  And we're trying to capture that. And if we can put that in these sort of big
• 20:55
  arenas and still make it feel like a very alive rock show, because we were just chatting about it.
• 21:00
  It can feel quite polished, these sort of arena shows and cold.
• 21:04
  And, you know, some they don't even speak to the crowd sometimes.
• 21:07
  So it's, yeah, we're just trying to work on those sort of things to make it
• 21:09
  feel more, more intimate in a way.
• 21:12
  I suppose it's also the closeness between you guys on stage.
• 21:14
  I mean, if you're like on a massive stage, you, you know, you might like join
• 21:18
  the other musicians and do a guitar solo or something.
• 21:21
  But apart from that, you're like, you know, spread out a little bit more than
• 21:25
  like in a club. So the interaction between you guys is also different,
• 21:29
  I suppose. Yeah. And we, that's funny you mentioned it because that is something
• 21:32
  that we are changing a little bit on our upcoming tour.
• 21:36
  There are some moments where we're literally going to hopefully be very,
• 21:39
  very close quarters with each other. But you're building like pyramids or something.
• 21:44
  Ja, es ist ein Egyptian-themed.
• 21:48
  Was ist das? Ist es ein Spinal Tap? Ja, wir kommen in den Ponds Ja,
• 21:53
  wir gehen full Spinal Tap Just make sure Phil's is taped up Stollenhenge going
• 21:57
  in there Exactly, ja, es ist going to be like different historical monuments
• 22:01
  from around the world Very tiny, ja But no,
• 22:07
  you do raise a good point I think we're always connecting with each other on
• 22:10
  the stage as well, it's so hard for Connor because he literally glued to a microphone stand.
• 22:14
  But when he is off of it, you know, I'm normally straight over there.
• 22:17
  Yeah, I'm always with Dom. Trying to do like a back-to-back status quo kind
• 22:21
  of thing. And he always pushes me away.
• 22:23
  But, you know, it's kind of that love of rejection that keeps me going back. Mummy.
• 22:33
  But yeah, no. But that's, yeah, like Dom said, we're just thinking about a lot
• 22:37
  of these things to make a bigger arena show feel more. Yeah, like the old days.
• 22:42
  Was kind of wilder onstage.
• 22:45
  Wie ist es für ein Plan, ein Huge Tool wie dieses?
• 22:49
  Ich immer imagine es wie Kinder und putting your wishes zusammen,
• 22:54
  wie die Perfect Show wäre, weil du in eine Position, wo du kannst du einen Input
• 22:59
  in wie die Stage ist going to look.
• 23:02
  100% Wir haben this chat yesterday. Wir haben so viele Gigs und so viele Festivals
• 23:07
  where our Favourite artists have played that you can start being like,
• 23:11
  oh, can we actually do that?
• 23:13
  So sick. Normally us is no, but...
• 23:16
  I think as we've had more experience and we've become more at the helm of the
• 23:23
  creative direction in all of the campaign.
• 23:25
  So in the previous tours, maybe when we had less budget and also just sort of
• 23:30
  less thoughts about it, you kind of let the team creative directing to do whatever.
• 23:35
  But we've had more input over the last couple of tours and especially this tour,
• 23:38
  it's like tying it all in.
• 23:39
  Und wir haben es mit DCC, aber alles fühlt sich sehr homogöne an dieser Tour,
• 23:45
  das ist wirklich spannend.
• 23:46
  Also haben diese Tour-Content-Meetens mit den Kreativ-Directors ein paar Monate
• 23:49
  aus, wie Dom gesagt, haben wir so viel Inspiration von all diese verschiedenen Shows.
• 23:53
  So es ist wirklich spannend. Und zu sein, dass wir so weit ahead of Tour planen,
• 23:57
  hopefully es wird auch gut sein.
• 23:59
  Es ist immer das Ding, in den letzten Wochen, du hast noch etwas zu figure,
• 24:02
  was es wirklich gut gemacht. Ja, es ist wirklich gut. Es ist eine gute Idee,
• 24:06
  dass du Tiny Stonehenge gesagt hast? Ja.
• 24:09
  Well, we will see you in January. Thank you guys so much for passing by our
• 24:14
  humble studio. Thanks for having us. Yeah, thank you so much.