0:00
Check this out. You're ready? How about that? >> Hello, one two. One two. One two. That's better. >> Oh, it's better? >> Yeah.
Search this video
0:08
>> But we don't need them. >> We don't need them. >> We don't need them.
0:11
>> Wow, this is like >> I I've never done this before.
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>> Robots really realizing they can just live.
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>> I don't have a choice. It's like the Matrix.
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I just unplugged myself from the radio experience.
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And now I'm just literally in a cafe being stared at by people having a conversation. >> This is Yeah.
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>> I mean, we've had some weird ones.
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This This is up for the races. >> We have, yeah.
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I I actually prefer this if that's all right.
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>> I don't have a choice. >> No, this is better.
0:37
>> You're the guest, and you're right.
0:38
>> Cuz also sometimes like when you're when you're I've become very aware of my own voice and how it's >> You're a bit late for that. >> How is that? I know. I know.
0:46
>> It's like you built a career out of singing, and you're like, "Fuck, I'm really self-aware now of my voice."
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>> No, but you know, actually, you know what?
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There is a phenomenon when you're on the mic, and you've got um you know, you got like a really high-definition microphone. >> I'm sorry. >> I can't do it.
1:00
I can't I'm just going to make a noise. >> Yeah.
1:02
>> It makes you feel much more self-conscious about what you're singing and how you're articulating.
1:07
And a lot of singers actually um perform better when they're performing on a on a much lower-definition mic and maybe over a set of speakers rather than hearing it super high-def in their in their headphones.
1:20
So, as a producer, kind of one one technique you can use to get a singer sort of out of their head and performing more sort of raw and visceral is just by giving them like a handheld mic.
1:33
Just to demystify it a bit.
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>> Yeah, just it just it just puts the a few layers between them and the and then they can just let go.
1:40
>> Well, here's a question for you.
1:40
As somebody who I mean, you're a great collaborator, but when you're making an album, you don't you can do everything yourself.
1:46
I mean, you know, you're comping your own vocals.
1:47
Not that you're sitting there with an engineer right going, "Okay, you know, line me up."
1:50
How do you sort of um how do do get yourself into a place where you know it's it it that you're feeling it to the point where you're going to capture it, especially on an album like this which is so compared to your last album, it's so about what you're saying and how you're saying it through your performance. >> Yeah.
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>> How did you prepare to to record vocals on this and get yourself there?
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>> Well, you know, each song is obviously different, but where it it became apparent that I was more of a main character on this record was when we actually mixed it.
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Um and I you know, I co-mixed it with with John Castelli. >> Mhm.
2:31
>> Um and John Castelli kept turning my vocals up. >> Mhm.
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>> And I just initially was quite uncomfortable with it, to be honest.
2:38
Um and I kept sort of going back and forth between his versions and my versions with all my friends and being like, "I just I just feel like it's missing."
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And they're all like, "No, no, no, it's way better.
2:52
He's turned he now we can actually hear what you're saying."
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And um and so actually the the impact of what I do like as a vocalist is often kind of uh when I'm producing, I often kind of just include it as part of the instrumentation.
3:11
>> is the this is the challenge of being a producer and an artist is that you're you're you are actually producing yourself through the filter of perception, not through feeling.
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You're like, "How am I going to be perceived?
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Maybe I need" and it's like no producer would would turn you down, James. >> Exactly. >> No one. Except you.
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>> I think that is unfortunately the truth.
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It's not just confidence though, it's sometimes it's it's because I prefer the way it sits in a composition.
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Like I might just think, "Okay, well, I love these strings and I love these you know, this bassline. I love this."
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So, I'm not going to turn all that down in favor of like the lead vocal because I love what I've made.
3:47
And in actual fact, I sort of forget sometimes the kind of like effect that has on the listener and and if anything what separated my very early records like for example like the self-titled and and maybe the second record from let's say like a friend to break your heart or like the those records felt more like I was part of the tapestry.
4:11
>> You know, you start the album with walkout music which is one of the most beautiful pieces of music you've ever made. >> Thank you.
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>> Um it's like so >> It's like a dystopian wedding dance. >> It's right. >> Yeah.
4:24
>> First dance at like the dystopian wedding of the year.
4:27
>> In my in my head it was yachty walking out of that festival and I uh I was imagining that as a sort of like You know, when we when I actually made it it wasn't for this album.
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I was thinking about it for bad cameo. >> Right.
4:46
>> But it just kind of when we were There was a point in this record where the directive kind of changed.
4:57
Um and me and me and Jamila were talking about you know uh just influences on the record but also you know um references for how it should be and she was like look I I don't know about all these other references like the I don't know talk talk spirit of Eden or Kid A or thriller or these perfect albums that I was thinking about.
5:30
Um what's going on Marvin Gaye you know.
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And she's just like I think I think the coloring anything probably contains within it the answer to what you're to what you're looking for.
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And actually it's within you and your own catalog.
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Um And there isn't something better than that to to to get to where I think you want to go.
5:55
I know that was true, honestly.
5:55
And >> That's a powerful statement. You know why?
6:00
Because what it does is it forces you to take a look at yourself, probably for the first time.
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>> It potentially to to also just to get you out of this this this thing of like how can I reach outside for validation or or or or you know, for for inspiration like looking at other things that you think are perfect and going well that but it's like none of the people who made those things probably think they're perfect. >> No.
6:24
>> Um as much as we might think they are.
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>> I love how honest how you let people be honest with you about your music.
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And I like I just really appreciate the vulnerability that you that you open yourself up to.
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I mean, I think people hear your music and probably come to the assumption that you've got it all figured out.
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Like who makes this record and doesn't know who they are and what they want to say.
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But every time you show up, I feel like you you you're looking for answers.
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You don't you're as lost as you've ever been in a great way.
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>> I think it I think that creatively it's like it's sort of that um you know, when when Bowie was talking about having your your feet just a few inches off the bottom of the pool.
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That's where you're you're at your most kind of um I don't know but that's where you want to be creatively, right? >> Yeah.
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>> Never fully knowing where you are.
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I think I think that is a a nice kind of um outlook on it.
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And you know, I think the album cover >> is the only funny part of the record. It's hilarious. Brilliant.
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>> I think >> you're incorporating that in the live show at some point when you come out. >> Yeah, I'll be yeah.
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>> A little supporting yourself with a plate spinning contest. >> Yeah, yeah. I I you know what?
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Actually, I did learn to spin plates when I was younger.
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>> I can tell you you're serious about it.
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Look at the way you're holding your hands.
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I mean, that's a very that's a technique right there.
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>> But that Well, there was a man who came who's a professional plate spinner, which I didn't know um is a thing.
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>> So, that's not doctored?
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>> No, no, these are real plates.
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>> And >> I did a full shoot. You'll see the videos. >> I can't wait.
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>> But the um this this this album cover is my favorite album cover I've ever done.
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And it The reason is because it was such a perfect encapsulation of what my last couple years was like.
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>> Let's talk about that. >> Yeah.
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Um you know, in that year the Well, so in I guess 2023, 2024, um I was you know, I was pissing off a huge amount of people. >> Mhm.
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>> Um I'm like I'm lucky to be here, to be honest.
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Uh but you know, that's >> No.
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We I called you the day >> No, I mean on Earth. >> On Earth.
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>> I do mean I do mean it.
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>> No, I called you the day that you started to talk your talk, and we had a conversation about it. Do you remember? >> Yes, I do remember. >> like, "Go."
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>> And I really appreciated that support.
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I think you know, I Yeah, I am joking.
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I don't I don't Yeah, I do feel I do feel lucky to be having this conversation, but I also understand that like what I was saying at the time and what I still stand by and what I'm saying now. >> Yeah.
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>> Um it's complex, and it and it involves kind of there's there's levels, right?
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Um uh to it, and um and the thing is you need to be able to generate a platform to be able to say those things.
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And I had the the privilege to say them and be okay. >> Mhm.
9:23
>> Um but ultimately it came with it, you know, like after that, you do feel the tap turn off. >> Mhm.
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>> Um in huge amounts of the parts of the industry. >> Mhm.
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>> And um and so I think >> tangible, you really it was a real thing. >> Oh, yeah.
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Yeah, when they want to turn the light off, they can turn the light off. hell.
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>> Yeah, and you can feel it. Um, >> Mhm.
9:48
>> and and I think, you know, in those two years, you know, I started managing my I left my management, I left my label, I started managing myself.
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Um, so I was on the phone 24/7.
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So, building a team, you know, starting to reassemble a team, figuring out like who I trust, who I want to be around.
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>> Let me ask you a question because sometimes the order of things is out of your it's not how you intended it. >> Mhm.
10:18
>> So, you say something that you feel in the moment >> Mhm. >> is valid to you. >> Yeah.
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>> Some people get it, some people don't. >> Mhm.
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>> Then you you're like, oh, now I'm I'm sort of I have to figure this out now.
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>> It set off an avalanche.
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>> It sets it off, right? >> It really did.
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>> So, did you have to figure out kind of what you wanted and ultimately how you wanted to move forward with your life in real time?
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Cuz I didn't It's not like you sat down for 6 months, figured it out, and then decided to announce it with a Tik Tok. >> No. No.
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>> So, now I got to figure this out, like, how am I going to keep doing this?
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>> And also people were asking for answers, you know, and so I was positing a question, >> Mhm. >> not an answer. >> Mhm.
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>> And I was positing a a problem, >> Mhm.
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>> and I was diagnosing the problem and talking about it in a way that seemed to be resonating with people. >> Mhm.
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>> I mean, it went so wide >> Mhm.
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>> that suddenly I felt a responsibility to actually come up with answers. And >> it really, James?
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If you can think back on what prompted that message in the first place, what was the motivation?
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What really were you trying to get to?
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>> I mean, I was I was seeing with pure clarity what the kind of, um, the exploitation of the music industry in in a in a nutshell. >> Mhm.
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>> Um, but I was seeing it through the lens of the new industry of social media being the kind of primary driver for for people's So, basically being ping-ponged around different platforms that don't pay you, right?
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Um >> You feed them for free.
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>> Yeah, we feed the platform and we give we know we get exposure and then when and the exposure apparently is enough but it's like there is no if there's no final destination where you do get paid then it doesn't matter how much exposure you get and a lot of artists are basically experiencing Okay, you you get promotion here, you get pro exposure here, you get a little bit here, you get a little bit here.
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But it's like to what end?
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I think what artists find difficult as well as that so much of the like let's say in the run-up to promoting something, right?
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So much of it is paid in a in advance.
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So, if like PR whatever it is you're you're doing is cash, right?
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But if you don't succeed, those people just get that cash and you get nothing. Mm.
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There's no kind of like my sort of proposition for the for the industry at that time was the equity side, which is which is that you know, if I do well, you do well.
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Um and rather than being, you know they're they're they're a sort of predatory industry around artists who want to become successful just being people who just pay wages to everyone who you know, could chop a video together or do a thing like no, just give him a cut of the song.
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Because we should all be then working after that >> Invested in the right thing.
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>> to push that rock to the top of the hill rather than >> Mhm.
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>> you know, artists just being out of pocket and waiting for something to come through which it virtually never does.
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>> On a platform that again is just going to change overnight anyway and make it really hard for you to keep up with it.
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>> And then you know, it's like looking at Instagram promotion, you know, it's like oh, boost real it's like I mean the actual money that goes into that never comes back.
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Like it is like every single thing whether it's like all these different platforms doing the same thing.
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So, the album is incredibly organic and the this um you know in terms of even just like you know, yeah, like the show is is is me trying to I'm I'm using machines on the stage.
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But the the point is that obviously it centers around what I do naturally.
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Um and I and honestly I had Rob with me as well, who's um an amazing musician.
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Uh he's obviously in my band anyway.
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Um but we did this like two-piece thing.
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I can't wait for people to see it.
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>> I'm getting back to this recorded body of work.
14:14
It It's kind of It's like somehow you've found a balance, a really delicate balance between the rewards of being human and why we still do it.
14:27
And this innate sadness of modern life and how this deep disconnection that seems to be occurring around us all the time.
14:35
And the fact that we're kind of getting accustomed to it.
14:40
And I feel like to me at least listening to the album, like those are quite central themes to this record. >> They are. They are.
14:44
Death of Love is uh you know, was written at a time where I could sense people's empathy for each other dwindling and it started to become very very um you know, scary to be honest.
14:59
The internet became quite a scary place.
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Um just in terms of where the world was going and and where I could see cuz it's like, have you ever had a conversation in real life that was ever like that?
15:07
I don't know if Well, just like the kinds of conversations you see online all the time. No.
15:13
Kind of angry and vitriol.
15:15
I don't I don't think like I'm not sure if I've had a conversation in such bad faith as I've seen online.
15:22
Anyway, so that that song really sprung up from that.
15:24
I mean that was written about four three years ago, three four years ago. >> Well, interesting.
15:29
So, this was during the time when you were probably feeling most disenfranchised by it all.
15:32
So, you're searching for a different kind of answer.
15:35
>> I think it was during it was just during the pandemic when everything just reached a sort of heated kind of >> Well, that's all we had, right?
15:40
It's the only way we're connecting.
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And so, we saw every side of it come out.
15:42
And to your point, in the shadows where you can exercise sides of you that you just shouldn't.
15:49
>> And the algorithm is just promoting constantly rage.
15:51
You know, and and and it wasn't it wasn't necessarily the fault of everybody as a collective consciousness that when something is um completely incentivizing >> Yeah.
16:08
>> that type of behavior and and kind of interaction, then that's what we get.
16:12
And of course it would be.
16:12
So, >> It just went into a black hole, right?
16:15
>> Yeah, and I think that, you know, things like you know, the the the rest of the record though is is the whole album's not about that.
16:23
It's just I I think this record is you know, to encapsulate it into maybe a phrase would be love in a time of chaos. >> Mhm.
16:39
>> And I think I want I was I was struggling to reconcile what it feels like to be someone with their own experience, with their own life, their love, their friends, their passions, their depression, their whatever it is, you know, that you're you're going through at the time.
16:59
With the collective anguish and the collective experience that's going on in the world.
17:05
the world. And the things that happened over the last four years that that have been in your from from outside that you have to reconcile and say you know how how much do I interface with how much how complicit am I am I in this how much how much
17:24
how much can I block off consciously and subconsciously and ethically and how much do I have to engage given that all of that information is being pumped directly into my hand you know what which is a not the best turn phrase maybe but
17:46
um you know what I'm saying so uh so what I'm saying is that so I'm saying is that the um that's a difficult thing to do >> I want to get back to the plate spinning of it all what's the how do you learn how to spin plates
18:18
efficiently and without absolute disaster >> you can't >> constantly >> you can't >> like how many plates did you have to go through before you really felt like and eventually also there's something very deep about this experience because no
18:31
matter how successful you are the plate it's all going to end the same way >> that's right that is right um those plates are inevitably going to spin if you if you don't keep them going they're going to fall off and smash on the floor which they did
18:46
there'll be a video documenting that >> boxes and boxes of plates >> boxes of boxes of plates yeah um and and yeah like I say like it was it was a metaphor for all these things I was doing I was I was I mean as I was getting to earlier I was I was um
19:06
I was becoming an advisor to all these different companies that I felt were the sort of and I and still do feel like in the five vault all these things that are the to me that are the the next phase of the music industry um now that the kind of
19:21
majors are finding new shapes and you know disassembling reassembling and you're getting a much more independently driven music industry which is great and that's as I said it said it would be and and I hoped it would be. um
19:35
um and I was also starting my own uh platform um which is I can't talk about right now but I will later.
19:45
>> You'll come back talk about it. >> Yeah. >> Okay. >> Yeah.
19:47
Um and then you know I just um you know I was doing I I was making the album and I was trying to be a good boyfriend dog dad person trying to figure out my life.
20:00
>> And you moved can I say that?
20:00
I mean you moved as well. >> I moved country. >> Yeah. >> Um moved home.
20:03
I moved home which was which was great um but yeah.
20:08
um There's probably more things I guess leaving label management managing myself.
20:12
Yeah it was it was just crazy it was a crazy amount of stuff to be doing at once and it was too much honestly.
20:18
um which is why we pushed the album back by a year.
20:20
um but that when I look at that to to say I was spinning plates but also sort of conducting >> um >> at the same time is what that looks like to me.
20:30
>> What have you learned from um moving into these new spaces like like you've been on vault now for what a couple of years?
20:35
Like what have you learned about um having this kind of direct to fan engagement?
20:40
Like I I was I subscribed the day you you announced it. >> Thank you. >> Of course.
20:46
And I'm still a subscriber and so I I hear from you fairly regularly.
20:50
I always get excited and then I realize it's not you.
20:51
I feel like it's like it's like it's like music chemio. >> It is me though.
20:55
>> It's like me but it's not you.
20:57
>> you know I'm writing the text. >> it's the same text.
20:59
>> You mean it's you not it's not me too directly to you.
21:02
>> No it's not a whenever I see James Blake come up I would like it to say hey Zane been a minute. I'm in LA next week. Fancy a pint?"
21:08
But what I get is like "Hi everyone.
21:11
I'm releasing a limited edition coffee mug on Monday. Would you like it? Um sign up here."
21:19
And I go "I do want the coffee mug, but I would like to have a pint with my friend, too." >> Mhm.
21:25
>> So, I don't understand why >> seen that response. >> I'm not surprised.
21:29
>> end of Vault, but it's just >> why it had to be either or.
21:32
I I thought that you would it would be additive.
21:34
I thought I'm going to keep my friendship and get Vault.
21:38
I didn't realize when I signed up to Vault, I would be losing my friend in the process.
21:42
I might have not done it.
21:45
>> But that's capitalism. >> Honestly.
21:47
That's Wow, you really learned some How many >> Mhm.
21:49
>> Boy, they they broke you, huh? >> Yeah. >> They broke you. >> LA just destroyed me. I have no soul anymore. >> Wow. >> It's gone.
21:56
>> That is capitalism, you're right.
21:56
It's a sacrifice and a trade.
21:59
>> But I do I appreciate your subscription.
22:02
>> More than my friendship, clearly.
22:04
>> Thank you for your subscription.
22:06
You know what's been great is that you know, like this week >> Mhm.
22:10
>> I was in LA and then we did a listening party for for the Vault members, right?
22:15
And we played them the album and this is and I I went and said hello to everyone and like had a big big old chat at the end and like they'd never met me before and we were doing we were just sort of like it was a great they had all these questions and >> Yeah.
22:27
>> And it felt very very relaxed because I've I already know half of them because we've already been chatting on this thing.
22:36
And it felt very um like I've never really had that before.
22:40
Like because social media is so kind of parasocial >> Mhm.
22:46
>> and it's and it you know, it's sort of like your Instagram is sort of like it's it's the quality of the comments is totally different, right?
22:53
So, it's like you know, you might just somebody might just say like Zaddy. >> Mhm. >> Often.
23:01
>> And I go that and I just what do I do? I respond >> Mhm.
23:04
is that right Eddie I respond but yeah that's true am I not okay I'm not old enough no okay you're not at uncle level yet I think I might be so no okay well anyway whatever the comment is right okay so someone's I'm just going right >> With a goat emoji. Goat emoji.
23:34
>> Obviously the connection is undeniable. >> From from that.
23:36
Obviously you also an undeniably a goat. >> I just stop it.
23:41
So yes parasocial is parasocial.
23:46
Zane's in the comments saying goat. >> Goat.
23:48
>> I I don't know what to say to be honest it's not even it's not even just that it's not anything.
23:53
Like Instagram just feels like or any of those places.
23:55
It actually personalizes the most personal relationships in your life.
23:58
I have family and friends who have known me better than anybody in the world who comment on my post and I'm like what what am I what am I say to that.
24:06
Like we're going to call him out on your Apple show.
24:09
I mean that's probably the only interaction they have with you isn't it looking at your videos. I'm a good friend.
24:17
Sacrifice friendship for capitalism.
24:17
I imagine these you know people back home God he sounds Australian. You can off.
24:25
What's happening he's he's become so LA.
24:27
He's so LA but his voice has changed and now he thinks he's Australian Mark Ronson no one knows where he's from.
24:33
He's got these rings we don't remember that.
24:34
Remember We don't remember him wearing fancy jewelry.
24:40
>> I've been to your houses.
24:42
>> Is he does he does he still love us do you think?
24:49
Have you heard from him in I haven't heard from him in 5 years.
24:52
>> These are the questions I want people to ask.
24:56
>> But he's talking also to these famous people.
25:01
Is he And now he's famous like is he too big too big to come home?
25:05
Is he Does he remember even where he's from?
25:13
I'm sure they're all I you know, I'm sure they're not saying that.
25:15
>> It's possible they are.
25:16
>> I'm just want I'm just I'm just imagining.
25:20
>> I think that all the time about you.
25:24
And genuinely I'm like, wow, where the is James gone?
25:28
He came in, swept by the industry, off, back to London, and now all I get is limited edition 7-in demo coming Thursday.
25:40
Um I'm just grateful we're still here and I now get to listen to this with everybody else when I need it and we need this. >> Mhm. >> Record, man.
25:49
We need someone who's going to And you're not alone.
25:54
Well, you've got some real generational peers right now.
25:56
You know, Roses doing this. >> Oh, yeah.
25:58
>> Florence's album is unfucking believable.
26:00
Like people need to remember that record exists right now.
26:06
Cuz that is like Old Religion, that song. >> Mhm.
26:09
>> I mean, there's some people who are really out here saying amazing brave, amazing So as much as it probably felt like you were on your own for a bit after, you know, whatever that was in 2024 when you started that ball rolling. >> Mhm.
26:23
>> It must be nice to to know that actually the real ones are still here and still want to work with you.
26:28
I mean, you don't have any problem finding great people to work with and continually.
26:33
>> No, I'm I'm super I'm incredibly lucky in that way.
26:36
And also, you know, I never felt like it I was on my own same times what I was saying.
26:43
Um cuz lots of people And by the way, not even 50th on the list of I I I mean, I'm or I I am so far down the list of people who've said the same things.
26:53
You know, I'm I'm like there's there's so many articles, there's so many musicians who've spoken out about things in this industry and and you know, I'm by no means the first and hopefully won't be the last, but the the in terms of music and making it um I always you know, I'm always grateful people like Rosalía exist.
27:24
I mean, there is only one, obviously, but just watching her interviews about this last record.
27:32
You can just sense the artistry sort of just pouring out of her.
27:35
I mean, it's like >> student, she's studying student. >> Yeah, it's amazing. She's amazing.
27:40
>> I'm going to super serve my curiosity.
27:42
>> But she's also a teacher in a way in in the way she's doing it.
27:44
It's kind of it's broadcasting a sort of a frequency to other people that says you can you can do this, you can take risks, you can challenge yourself, you can be um and you can be truly great and you can be like one of if not the best singer on the planet and just still around and have a great time.
28:08
>> Yeah, carry it and and and just be thoughtful and cool about it.
28:12
>> And then go and sell out 30,000 cap like whatever or like, you know, you go to a Rosalía she puts on a gig and it looks like a it looks like a national protest. Do you know what I mean? Like insane. >> I know. I know.
28:25
Um So, I know you were doing you were working with Dave on Dave's stuff and then obviously Dave's on this record, too.
28:31
And that makes a lot of sense because again, you only really collaborate with people that that that kind of makes sense on every single level.
28:38
Um but how's that experience been working with him? Cuz I I I love him.
28:39
We all love him and he's like you, he's not he's only going to move when he's ready.
28:45
It's all very purposeful and deliberate and he's he's um he's a one-off. Complete one-off.
28:52
Just total um You know, when when he's been working on something and he comes back and then he shows you what he's done and he just you know, you the song's playing and and he's just going, "Yeah, so I've just got this thing."
29:12
And and then he starts doing it.
29:14
And he wraps the whole thing from start to finish and you go what?
29:20
Like, how did you do that?
29:20
It's completely the depth of writing from him is astonishing, I think, sometimes.
29:31
I'm like, there's just the the gravity of what he says and how much thought he's put into it.
29:38
And it's like that's why Dave records can't come that often.
29:40
They're just you know, people are like, "Oh, come on, man. >> Drop drop an album." It's like >> a drop. No.
29:47
We're not This This is No, it's This is a This is a This is a delivery of like a >> Yeah.
29:54
>> unbelievably special thing that that that doesn't get made in a night.
29:57
When you love something a lot and it's obviously very personal to you and it is for every artist.
30:05
And then you you know you then are put in touch with the reality of what you're going to have to do to actually like show it to people. >> Yeah. Yeah. Yeah. Yeah.
30:14
Um >> Learn how to spin plates for a start.
30:17
>> Well, it's a I mean, it's just a a deeply um impersonal and kind of like tech-driven process, right?
30:25
So and and I think this is this is kind of what the one of the not I'd say uh amendments I made to some of the first statements I I made about the about you know, streaming and payment and all that kind of stuff.
30:44
Was that in actual fact, about a year later, I sort of came to the realization that the streaming the the delivery of music in that format might not actually be worth more money than that.
31:03
Cuz it's so It's It's so like compared to buying by you know, like if if let's say we go like that and this kind of culture is just back to like buying vinyl and having to bring it home and >> Your question is are we really going to Are we really going to put that on wax?
31:20
Are we going to press that?
31:20
Are we going to stand by that decision when it's actually something physical we have to go through a process as opposed to just putting it >> be 200 and 50 songs a day if it was if you had to press them to vinyl.
31:30
>> undeniable >> And And not only that, but like And I say yes, the quality control becomes vastly less when all it is is literally upload.
31:38
That's why live music is now such a sort of hot commodity in a way.
31:42
Like watching someone live is is so far away from the phone and streaming.
31:50
But it's not that far away from a vinyl that was pressed through an analog Do you know Do you see what I'm saying?
31:58
Like It went straight through a tape machine onto it onto vinyl.
32:01
That actually isn't that far away because it's a literal um it's a it's a literal sort of pressing of that exact moment into Whereas I because of the amount of digitalization the amount of kind of like And then you're you know, and then you're listening to it in this way.
32:19
You are actually very disconnected from it.
32:22
The The I think the future just looks bleak for for like recorded music, but it actually looks very bright for live music.
32:32
I'm obsessed with this album.
32:33
Like I it is my favorite album I've ever made.
32:36
I know every artist says that, but I think this is >> You can stand on that.
32:39
It's my favorite album you've ever made.
32:41
>> To me this is this is coloring anything, too. >> Mhm.
32:44
>> But an evolved and concise version. >> Mhm.
32:49
>> And I think it's the strongest possible foot I could have put forward.
32:56
But my connection with an audience happens in the room.
33:03
And it's why Vault is so special.
33:07
It's why my gigs are so special.
33:10
It's why I get up in the morning to to really do, you know, like to to make music is it's the ultimate destination for it is in front of you. >> Mhm.
33:22
>> And I can do that with confidence because I spent 25 years doing it.
33:30
>> What I think this album is going to really really um make very clear and evident to people, now that you are aware of it, is that um even with the most minimal of accompaniment, um you uh can hold our attention in the most special way.
33:51
This is a real compliment, like genuine compliment.
33:54
>> Like you've now found this relationship with your writing and your music.
33:57
You are just like I know how to take you there now. You know what I mean? >> Yeah.
34:02
>> I'm not just going to sing the song, like I'm going to hold it.
34:06
And it's And that that's like Buckley That's like, "Oh he was somewhere else.
34:10
I saw him live, he was somewhere else." >> Absolutely right.
34:13
And And they said about Mahalia Jackson that when Mahalia was performing, she was performing to God. >> Mhm. Mhm.
34:26
>> And the audience were watching her.
34:27
>> We're watching that conversation. >> Mhm.
34:30
>> She wasn't necessarily performing to them. >> Mhm. >> Um I >> I love that.
34:36
>> would say that you know, every every performer is different.
34:39
Some people have you know, it's almost like a Venn diagram, you know, some people have performing more to the audience and and less. So.
34:48
Um I don't know where I sit on that personally, but I know that like my you know, when I'm on stage, yeah, I'm I'm I'm really just sort of lost in the frequencies.
34:58
I'm not really sort of particularly thinking about how I'm I connect in that way. >> Mhm. >> You know? >> Mhm.
35:08
>> And ideally I'm helping people connect with themselves more than with me.
35:13
Um and I think that's what my my music generally is. Um >> Very much so.
35:17
I think that's why people are also drawn to you as such a as as a collaborator and want you to touch their music so much is because you know, you are in service to some experience really at the end of the day that belongs to everybody.
35:27
I mean I always think musicians get the best side of the trade because you get to learn the most and you get to have the experience of creating and releasing something, but we do get something really wonderful out of it if we allow ourselves to to to lean into it.
35:37
You know, and that's certainly the case with this record cuz you are somewhere else on this.
35:43
It's like you have absolutely taken off any of the self-imposed barriers or restrictions you may have had toward devastating us and decided, you know what? This is what it is. >> Yeah.
35:56
>> These are trying times and this album will reflect that in the most raw and real way possible.
36:00
>> Yes, trying times is is also the most kind of um like it's the biggest understatement of where we're at possible and and that's kind of that comes within English sort of sarcasm to it as well.
36:13
You know, in the way of like, you know, the absolute worst thing can be happening and and it in England you go trying times.
36:22
>> Yeah, let's keep it light, mate. >> Yeah. >> Let's keep it light.
36:25
>> And you just get on with it.
36:26
>> It's what my friend does all the time.
36:27
He'll take us into like the depths of the darkest, doomy-est conversation pit.
36:31
And just when we're literally about to like go and tuck ourselves away behind closed doors and not come up for 24 hours, he just go Anyway, keep it light, mate. Keep it light. Keep it light. Keep it light.
36:40
He was just the same thing. Keep it light. >> Yeah. >> It's like, oh, yeah. Oh, yeah, Yeah, yeah.
36:48
>> I don't feel any responsibility to keep it light, but I think he's fun That's a funny thing to say. >> Obviously. >> No.
36:54
>> Um Oh, man, I'm so um glad to see you. I'm so happy.
37:00
I I I didn't know whether you were going to make another album, per se, or you were just going to dabble in Vogue for the rest of your life and just keep it keep keep it light.
37:07
>> Keep tasting my mates. >> Oh, yeah.
37:09
Give me your actual phone number.