At home with Fontaines D.C.’s Grian Chatten: "Our personality is bigger than the sound that we make"
Fontaines D.C. frontman Grian Chatten invites NME into his front room to tell us about gratitude conquering fear, working with Kneecap, the power of Irish music, why death isn't so bad, fighting for Palestine, and what went into their "neon and ridiculous" new album 'Romance'
Transcript
00:00I mean, I'm 28 now. I'd like to write a book of poetry, publish a book of poetry before I'm 30.
00:06I'm kind of thinking about the 30 marker now, you know.
00:09And I need to learn how to fucking drive. I've been saying it for years. I don't know how to drive.
00:14Well, if you find a car park, I can teach you the basics, man.
00:16Thanks very much, yeah. It'll have to be a fucking big one.
00:26Thank you very much for having us, man. This is lovely.
00:29Yeah, thanks. It's nice to have company, you know. It gets very lonely over here, you know.
00:34Yeah. How would you describe the decor you've gone for?
00:39I don't know. Dr. Seuss, goth, granny chic. I suppose, you know.
00:44And a little touch of pretentiousness and also a fair bit of here's who I am and here's what I like, you know.
00:52Seems like a nice place to recover from Glastonbury.
00:56You're watching this in the future, but we're filming this two days after Glastonbury.
01:02You guys smashed it, man.
01:03Thanks very much. Cheers. Yeah, sounds. Yeah, it was a cool crack.
01:06It seemed like between that and then when you came out with Kneecap that you were...
01:12You're really enjoying it. I mean, how are you feeling about...
01:14You spoke a lot about difficulties of touring the last couple of records, but...
01:17How are you feeling about being on the road right now?
01:20Really good, yeah. Distractive stuff, a gratitude and all that.
01:25Yeah, really tired of hearing myself moan about it, you know.
01:28And I think there's a lot of... There's a great opportunity to really enjoy a very particular and specific and weird life, you know.
01:38And I'm blessed to be a musician that I can do that, so why not, you know.
01:41It is really nice coming back to like, you know, a kind of...
01:46I mean, the life I have in this flat with my missus is very...
01:50It's very familiar now and it's very kind of compartmentalised and cosy, you know.
01:55So I think I'm enjoying the duality.
01:57I think beforehand I didn't really have so much a sense of home, so I kind of felt very uprooted.
02:02And I don't think that was good for me, but I feel a lot more secure now.
02:05And is that sense of gratitude, is that why you wanted to like, cram Glastonbury full of moments?
02:09You had your own set, the Kneecap thing, the little Jade from Little Mix Easter eggs, getting people quite excited.
02:17Yeah, but we had nothing to do with that.
02:18Oh, really?
02:19Not at all, no.
02:21Yeah, and I just noticed that yesterday for the first time.
02:24What a legend.
02:25Yeah.
02:25Yeah, she's cool as fuck.
02:27So you're not selling that much?
02:28I mean, she'd probably get a percentage.
02:31I think she made that herself, you know what I mean?
02:33I don't know where that came from, but yeah, it's deadly.
02:35Kneecap, was that planned or was that just...
02:38I got a text from them in the morning and I said no because I was worse for wear, to say the least.
02:45And they said no and I was kind of like, you know...
02:47I woke up that morning and I was like, I'm going fucking home, you know.
02:50And then a couple of hours later I felt like, there might be something here.
02:55And then, I don't know, it's just one of those things, like you said yourself, just kind of not being...
03:00Being very reluctant to miss an opportunity, you know.
03:03Like I was saying, there's just so much...
03:07There's so many opportunities there that I get to experience that other people don't.
03:12And I think it's just...
03:14It'd be a crime, you know, not to...
03:17Who else gets to go on stage with Kneecap on the best fucking bands in the world?
03:20Yeah.
03:21And also just such a moment in Irish music, Irish music, the history.
03:25That classroom really was insane for that.
03:27Yeah, Lancombe, Mary Wallopers.
03:30Yeah.
03:31Kneecap.
03:34Yeah, so many, so many.
03:35Yeah.
03:36It's not as if it's like having a moment.
03:38It's always been awesome.
03:40Yeah, it is, yeah.
03:42But it was amazing to see, you know, to be at Lancombe and hear them, you know,
03:51sort of like pronouncing once again their solidarity with Palestine,
03:55seeing all the Palestinian flags up everywhere.
03:57And then just the kind of the massive crowd and then this kind of...
04:00At times really, really, you know, strange fucking music coming from the stage
04:06and connecting with all these people.
04:08I felt very, incredibly at home and I felt, yeah, it was just a beautiful moment.
04:13It's probably my favourite part of the weekend.
04:15Yeah.
04:15I loved, I loved someone.
04:17I mean, Rayleigh's like an incredible, incredible person.
04:20So much respect for her.
04:22I loved when she said that bit about a good look to the BBC, editing that bit out, you know.
04:27Yeah, I think they cut out the Idol's boat thing as well, you know.
04:30Yeah, really, yeah?
04:30Yeah.
04:31Yeah, fuck's sake.
04:32Yeah.
04:33But you've also got the, speaking of Palestine,
04:35you've got the joint EP coming out with Young Fathers and Massive Attack.
04:41Well, it's just, we just did remixes of each other's tunes.
04:46Curly from Fontaine's DC did a remix of a Massive Attack tune
04:49and then we kind of just, it was just kind of like a joint effort.
04:53What can we do? Is there anything we can do?
04:55I mean, it's like, it becomes incredibly tiring and disenfranchising,
05:03not just as a musician, but as a young person, I suppose,
05:05to just kind of be talking about it and talking about it, raising awareness
05:07and at some point you're going to have to do something that feels a bit more tangible, you know.
05:11Because time is ticking and people are getting beheaded and massacred and so on.
05:16And yeah, I mean, it really is a responsibility of the masses and of artists
05:24and of anybody with a voice, which is most people nowadays, to do something, say something.
05:30And yeah, which side are you on, like, you know?
05:34And it just, there seems to be, when you read those three artists next to each other,
05:37it just works, you know?
05:39Yeah, yeah, I like that idea, yeah. I mean, thank you.
05:43But we're here to talk about Romance, which is fucking awesome.
05:49Thanks.
05:50Really good album, man. But I remember when you, last time you spoke to Enemy
05:54was just before Chaos for the Fly came out
05:58and you said that the idea of that solo album was to fire up a flare into the sky
06:03and see if any help came back. Did that work?
06:10Yeah, yeah, it did. I'm in a much better place after that.
06:14And I think making that record has a lot to do with that, for sure.
06:20Yeah, honestly, I think it's kind of like an emotional constellation
06:26that made a shape to some people, you know what I mean?
06:29And it was, yeah, I feel markedly less alone, I think, after that record,
06:34which is a big part of the reason for releasing that record, you know?
06:38It's not all doom and gloom, you know? I feel good.
06:40Yeah. Well, it's a record full of life.
06:43And it's like firing on all cylinders, you can feel the chemistry between your bands.
06:47How could you, how would you explain how the chemistry altered after that record
06:51when you all got back into a room together?
06:53Well, the rest of the lads knew that, like, you know, how brilliant I was.
06:56So they knew to just let me take control of everything, you know,
06:58after hearing my solo record. So I'm just joking.
07:02They knew that all the time.
07:05No, I'm going to miss it. How did it change?
07:08I think what happened was, I don't know, I just, I feel like I kind of, like,
07:14dragged myself backwards through a bush with that record and came out with some
07:18interesting branches stuck to my clothes, like, you know what I mean?
07:20And then we just kind of turned those branches into instruments
07:22and made our Romance album, you know?
07:26I had a lot more confidence with certain arrangements, ideas, like, you know,
07:33I got to, I hate the word experiment, like, you know what I mean?
07:38I'm not Frank Zappa, like, I'm just, I was committing to ideas that I had
07:43and I think that they worked out well enough.
07:45And Romance, I think as a result, not just of my record,
07:51but of everybody else's musical journey,
07:54since Romance is probably our most, sort of, expansive and full album, I think,
08:01to date, you know, and I think, yeah, had a lot to do with Chaos for the Floor.
08:05Yeah. Well, another thing you said is, back then,
08:07you didn't want to be judged as a person for how you were on Tuesday,
08:13as in, you know, preconceptions of how you were last week.
08:15You were already in a different place to how you were last week when you were here.
08:19It just, it feels like you've picked up Fontaines
08:22and kind of thrown them into the future, you know?
08:25Yeah, yeah, yeah.
08:26Was that an MO for the record of, like, no nostalgia, we're charging ahead together?
08:35Yeah, I think, you know, I'm trying to say this in a way that isn't mean.
08:44You mean?
08:46You know, to be sort of, like, creatively understood by too many people
08:51feels like flies settling all over your clothes and all over your face and stuff like that,
08:57and every now and then you have to fucking shake them off, you know,
09:00in order to see who you are again, you know, and that's kind of what we wanted to do.
09:05We spoke a lot about visual references, films and stuff like that,
09:10and I'm not even messing, like, we speak a lot about, like,
09:13you know, what kind of weather is it, like, in this song and stuff like that,
09:17so we can kind of sort of meet on a plane that doesn't necessarily have anything to do with music
09:22or instruments or arrangements.
09:25I mean, of course it does, ultimately, but it's more about sort of abstractly getting to the right place,
09:29and I think it's more interesting to work in that way because you're at less danger of sounding,
09:36I think, contrived or, I suppose, unoriginal, you know?
09:42What were some of those touch points?
09:45Because there's, like, a cyberpunk thing going on.
09:48It's something that sounds like a kind of a motorcycle race in an anime film,
09:54like, here's the thing, it's just, like, you're kind of late to fight in the future, you know?
09:58Do you actually think it sounds... because that's what it sounds like to me.
10:02I think that's... it's not interesting, I mean, but, you know, it can...
10:06I mean, it doesn't sound like anything from that movie Akira, you know,
10:10it doesn't sound like the soundtrack or whatever like that,
10:11but it evokes those images, which I think is...
10:15I find them... currently I find a much more interesting way to write than create, like, a Spotify playlist of guitar tones.
10:22Yeah.
10:23Sending them around to each other and going, like, you know,
10:25what is that amp? Let's fucking... let's play... it's more like...
10:28Yeah, anyway, what were some of the touchstones you were asking me?
10:32I'm getting better at that, circling back to the points.
10:35Yeah.
10:37Some of the touchstones... I think we spoke about, like...
10:41Pigeons taking flight at dawn, Shibuya Scramble, you know, have you been to the Shibuya Scramble?
10:48Yeah, yeah, yeah. College.
10:50Yeah, yeah, totally, yeah.
10:52And, you know, like, the kind of feeling of, like, a million people passing by,
10:57but not seeing each other in their own worlds, the race to work in the morning, things like that.
11:03And then I kind of... I've always experienced, like, the West Coast of America
11:08as some sort of... not all of it, but it always feels like...
11:12I don't mean this in a bad way at all, but it always feels like the kind of...
11:17it always feels like death, do you know what I mean?
11:19It just feels like sort of, like, there's something incredibly morbid about it,
11:24but also a fantastical dream. Like, it feels like the kind of Pearly Gates,
11:29you know what I mean?
11:31And there's an overwhelming feeling of, in a way, of comfort,
11:34but also... so many people live there, I don't want to offend anyone,
11:39but I feel like there's an overwhelming feeling of, kind of, you know, comfort.
11:44It's, like, soft-lit, everything feels, like, soft-lit, and it's...
11:47I don't know, it's terrifying at the time, at the same time.
11:52So, yeah, that was some of the inspiration, too.
11:55I know, I think I read you said a similar thing about the song Favourite,
11:59and people might see that as kind of, like, a warm, nostalgic, comforting glow,
12:03but I think you said it reminds you of death because it's kind of just, like,
12:07accepting how things are, in that sense, and arriving at a place.
12:14Yeah, it's sort of like...
12:18I don't know, like, I can compare it to other tunes, you know,
12:23in terms of how they make me feel.
12:26I think, like, Perfect Day will read, and then some, like, Sigur Rós stuff,
12:31where, you know, it's just...
12:35I find those tunes...
12:39It's like a warm pat on the back, but, you know, it's death itself,
12:45like, you know, it's, like, the final hug or whatever.
12:49It's just... I don't know, I find...
12:51I like the idea of a song being the saddest and the happiest,
12:55or the scariest and the happiest song possible, you know.
12:59It's not even necessarily about finding a balance.
13:01It's about one being... It's not about it being 50% this, 50% this.
13:04It's about it being 100% this, but also 100% this.
13:07Do you know what I mean?
13:09And I think that, yeah, Sigur Rós has some of those things.
13:12There She Goes is one of our biggest inspirations ever as a song.
13:16Another Girl, Another Planet.
13:20They're endless, but they're also incredibly, like...
13:23There's an ephemeral...
13:25Like, you know, they're going to end as soon as the lights come on in the bar,
13:28like, you know what I mean?
13:30But right now, it's forever, you know what I mean?
13:32It's forever contained in a minute, you know what I mean?
13:34It's like that kind of feeling, anyway.
13:36So, yeah, I'm just full of contradictions, you know what I mean?
13:39It's kind of why it's an absurd thing to be interviewed,
13:42because I don't really fucking know what I'm saying.
13:44What do you think is the significance of ending the record on that?
13:47It's the end of a journey.
13:49Yeah, but, I mean, it's clear it's obviously the beginning of a journey as well.
13:52Yeah, yeah, yeah.
13:53But it's...
13:55I think it makes sense as the end.
13:57It's like, you know, Finnegan's Wake by Ulysses,
14:01just to get my daily James Joyce reference in.
14:08You know, it ends with the same sentence that it begins with.
14:11It ends halfway through, and there's a kind of cyclical nature of that.
14:14I like the idea of the record being stuck,
14:17the needle being stuck in one groove,
14:19and it just going around forever and ever, you know?
14:21That is all we know.
14:23That's like fate, isn't it?
14:24Do you know what I mean?
14:25Yeah.
14:26I mean, it's fascinating that so many people in the world...
14:29I mean, so much of the world's control and power dynamic
14:33is based on something that...
14:36It's like the one thing that nobody actually knows anything about
14:39because nobody's ever come back from death and said,
14:41this is what actually happens.
14:43And speaking of that kind of sense of place,
14:44I mean, naturally a lot's been said about how all your other records
14:47were kind of rooted in Ireland,
14:49and the last Skinty Fear was about kind of the exit wound
14:52of leaving Ireland and being here,
14:54and kind of the back and forth between that.
14:56It's really interesting that this record starts in the concept.
15:00Maybe romance is the place, you know?
15:03I think the idea of romance as a place
15:11kind of comes from the idea of like a kind of simulation.
15:16I'm kind of thinking about like a zoo
15:20and kind of a glass wall that kind of...
15:25that divides the spectators and the spectacle,
15:30the penguins on one side and the people on the other side,
15:33and kind of manufactured realities
15:36committing to the fantasy of either one.
15:40And it's just a kind of...
15:42The question of what reality is,
15:44I mean, we've all seen the fucking Matrix.
15:46I'm not saying anything particularly new here,
15:48but I think it's just interesting to kind of, again,
15:52to decide to know what your reality is.
15:56Because you can either be at odds with it
16:00and carry that kind of...
16:03that search for truth,
16:05or you can relax into the warm bath of madness and delusion,
16:08which is what I think a functioning society does, really.
16:12Yeah.
16:13Because I know you talked about how the songs
16:16were more inspired by an aesthetic idea
16:18than potentially a musical influence idea.
16:21How did that ultimately amalgamate into this aesthetic?
16:24Because, you know, the word corn's being thrown around a lot,
16:27the word cyberpunk's being thrown around a lot.
16:29Is that just kind of a natural amalgamation
16:31of these sounds you've amalgamated?
16:33Well, I think, you know, some of the music sounds...
16:37I think some of the music sounds...
16:40It's exaggerated, you know.
16:42I think it is romantic in that sense.
16:44It's exaggerated.
16:46The colours that I hear in the music
16:49are not colours that you naturally find...
16:52that you find in nature, necessarily.
16:55The songs sound neon
16:59and kind of ridiculous, you know.
17:03And I think that in order to kind of communicate that idea thoroughly,
17:08I didn't want to go out, like, on stage
17:11dressed the same as I was for a dog or whatever.
17:15I wanted to kind of make sure that everything was...
17:18I wanted to put the audience in the right mindset
17:21to render them sensitive to the message
17:26that we were trying to convey, you know.
17:29It was the same idea, because the Starburster video
17:31was kind of just like a kind of marathon,
17:33like, rushing past all those images at the same time.
17:36What can you tell us about combining those images
17:39with it being set in Cumbria, where you were born?
17:42Is that a marriage of the past and the future?
17:44Or is that just, like, the landscape of this record?
17:47I think it's the out-of-placeness of, you know,
17:51I mean, there's the green fields and the blue-grey sky,
17:55and then there's the kind of, like...
17:58It's just a really nice way of nuancing
18:00the otherworldliness of the characters
18:03that I was playing in the video.
18:05And it was all down to Ob, the director.
18:08He's an incredible director, really.
18:10But I think it was just an important thing, yeah,
18:12to have it based around Cumbria,
18:14because it was just...
18:17I have a lot of memories of being pushed on a swing around there.
18:22It's just a nice place to go back to.
18:24Yeah. And are the rest of the music videos,
18:26do you think they're going to follow an arc,
18:28or is it just going to be a kind of collage of imagery?
18:31Yeah, there are ideas for it to follow an arc, yeah.
18:34But I'm aware of the fact that there are people
18:37trying to work out what we're trying to say,
18:39and I don't want to take that privilege away from them.
18:44I'd like to see a really fucking nuts
18:47here's the thing video, please.
18:49Single number three, do you reckon?
18:51I think it is happening, actually, yeah.
18:53I remember reading that you were at a playback for Dog Roll,
18:57and you'd already started writing the lyrics
18:59to Hero's Death there on the spot.
19:01Are you always one step ahead, two steps ahead?
19:03Is that where you're at right now?
19:05Yeah, I feel vulnerable if I'm out of bullets.
19:13You know what I mean?
19:15And I think it's just nice to have something on,
19:19like a card that nobody else knows about up your sleeve.
19:23So yeah, that is happening now, of course.
19:26It's kind of like one out, one in, you know?
19:29Yeah.
19:30That's very much down to the idea that I have, anyway,
19:35of maintaining your relationship with your creativity
19:38to make sure that it feels like something between you and it,
19:42or between you and yourself,
19:44and to just be in constant conversation with that.
19:47I think to focus on that conversation rather than this conversation
19:50between yourself and the outside world of what you've already done,
19:53it's really important to drown that out with a conversation
19:57with what you're doing next, you know?
19:59I mean, I really want to get into knitting.
20:01I think it would be a nice thing to do.
20:03I think I need to do things with my hands
20:06in order for me to focus on something else as well, you know?
20:09Yeah.
20:10Well, yeah, I like the idea of...
20:13I really like the idea of gifting people
20:16a physical thing that you've made for them, you know?
20:19Yeah.
20:20You've done five records in five years.
20:22That's a lot.
20:24You told us you wanted to get to a stage
20:27while you were still young of having 40 to your name.
20:31Yeah.
20:32Does this mean one record a year?
20:34Are you working on three right now?
20:36Yeah, I mean...
20:38I think we probably would have done more records than that
20:42if the structure of the music industry wasn't set up
20:46so that you have to do a campaign
20:50and tour a record for a certain amount of time
20:54and do a certain amount of interviews and stuff like that.
20:56If it was a case of we can just put it out
20:58and then go back in the studio, we'd be doing a fair bit more.
21:01It's not for lack of ideas,
21:03but I'm kind of glad that there are those buffer periods
21:07because they enable us to ensure
21:09that there's a market difference maybe
21:13in the voice of each record, you know?
21:16Yeah.
21:17Is that part of the decision of why you guys went to XL for this record?
21:22Because I think you were reaching a certain point of...
21:25You guys have reached number one, you've got your NME Award there,
21:28Best Band in the World, congratulations.
21:30You've got your Brit Award there. What was that for?
21:32Best International Act.
21:34Best International Act.
21:35And I think I see a number one trophy behind that
21:38and that's sort of touching the ceiling.
21:40A lot of people might have jumped onto a major
21:42and made like AM by Arctic Monkeys
21:44or tried to write this huge fucking pop record,
21:46but then you come back, neon green, weird as fuck.
21:52Did you go to XL because they're the home of weirdness
21:54and give you that freedom
21:55and there's no commercial expectations as such?
21:57Yeah, I think that XL have always been really good
22:01at communicating ideas visually
22:03and I think that we wanted to do something
22:06that felt like a genuine degree away from what we'd done before
22:14and I felt like they were good people to put our trust into.
22:21Do you have expectations of success with this record
22:23or is it just in the act of doing
22:25and finding that distraction you were talking about?
22:27Yeah, I couldn't give a fuck.
22:29It's just really...
22:32I think it's a really fucking good record.
22:35I'm buzzing to just have written it
22:38and to be able to play the tunes.
22:40It's definitely my favourite record that we've done.
22:42I think I'm just trying to kind of...
22:46I'm just trying to pat myself on the back a bit,
22:48to be honest with you,
22:49because I don't think I've been
22:51historically unbelievable at doing that before.
22:54You know what I mean?
22:55Yeah.
22:56But thanks for patting me on the back there.
22:58I appreciate that.
22:59Is it nice to wake up and say,
23:00I'm in the best fucking band in the world every day?
23:05Yeah, I don't know.
23:08It's a bit mad.
23:09I mean, who fucking knows?
23:13It's nice to wake up and say,
23:18I've just written a fucking great song.
23:20And so where do you go from here?
23:24Has making an album of extremes like this
23:27kind of proven to you that
23:29the next record could be a trance record,
23:31the next record could be a metal record,
23:33the next record could be everything at once?
23:36Yeah, 100%.
23:39I know it is possible now.
23:40I mean, we did this record with James Ford as well,
23:43and he was really good at making dreams come true
23:49in terms of certain songs,
23:51certain kind of sonic ambitions we had on certain tracks.
23:56And I think...
23:58Yeah, I feel like no one really...
24:03I don't think that many people really care, to be honest.
24:07I mean, I don't really care what kind of band we are anymore sonically.
24:11I think that we're at a place now where we've kind of established
24:15our personality and the shape of our personality and our character
24:20to the point where I think it's bigger than the sound that we make.
24:24Do you know what I mean?
24:25It's more about the heart, you know?
24:27Yeah.
24:28And do you think it's all going to follow in quick succession?
24:31There's a lot going on.
24:32I mean, I remember Sam Fender saying that he felt he rushed his second record
24:35and he wants to take his sweet time with this
24:37to kind of make it right, savour it.
24:39Do you see Fontaine's getting to that stage
24:41or are you just like sprinting now?
24:46Do you know that Lee Mavis line,
24:49responding to a call?
24:50I got the feeling I'm responding to a call.
24:52It's about if the album comes knocking, we'll respond.
24:57And I think it is.
24:59But I've never been in a position where I've been a part of making a record
25:04that I feel like, fuck, I've got to follow that one up.
25:07I feel like that about this one, to be honest.
25:10So I would be keen to take the time.
25:13I don't feel like we've rushed the record yet, to be honest.
25:17And I would hate to know what that feels like.
25:20Ending the year, well, ending the summer,
25:23Reading Festival, main stage, two or three.
25:26Are you on the Lana day?
25:27Yeah.
25:28I remember we spoke once, you said you had a dream of collaborating with Lana.
25:33Are you going to try and find her by catering and make it happen?
25:39Yeah, yeah.
25:40I'm going to muscle my way past her security
25:42and pitch the living fuck out of our band to her.
25:46Yeah, yeah, 100%.
25:47I'm going to bring all my Lana Del Rey records for her to sign as well.
25:52No, I don't really have any interest in pushing for anything
25:59in that kind of way whatsoever.
26:02If it happens naturally, it happens naturally.
26:04But I've no expectations.
26:06She doesn't need to do it.
26:08I don't think we need to do it.
26:09It would just be nice for me as a fan.
26:13And are you going to bring Dexter back on stage,
26:16the little lad with the guitar, the bucket hat guy?
26:18Or is that a moment in time? Is that gone?
26:20I think he's in one of the flight cases on the way over at the moment, yeah.
26:23We met his mum, actually. His mum's lovely as well.
26:30I think he's shown us up on stage once already,
26:33so I don't think there's any need for us to do that again.
26:35But do you have any real sort of bucket list moments left,
26:39or is it just in the act of doing it now?
26:43There are places I'd love to go.
26:46I'd love to go to South America.
26:49I'd love to go to the Balkans.
26:50I'd love to play Bosnia and Serbia and all that.
26:57There's things I'd like to...
27:00I'm 28 now.
27:01I'd like to write a book of poetry.
27:04Publish a book of poetry before I'm 30.
27:06I'm kind of thinking about the 30 marker now.
27:10And I need to learn how to fucking drive.
27:12I've been saying it for years.
27:13I don't know how to drive.
27:14Do you?
27:15Yeah, but I live in London, so I've not really...
27:18Do you think you'd be a good driver?
27:19Do you have the patience?
27:21I think I'm quite conscientious.
27:23I think I'm quite aware of other people's movements.
27:27That sounds dodgy.
27:29I think I'm embarrassingly good at getting out of people's way.
27:36So I think I'd probably be a careful driver.
27:40Yeah, I think the act of learning, that's a different thing altogether.
27:44Well, if you find a car park, I can teach you the basics, man.
27:46Thanks very much.
27:47Yeah, it'd have to be a fucking big one.
27:49So driving, poetry?
27:51Yeah, visiting the Balkans in South America.
27:56I want to do a soundtrack for something.
28:00To be honest with you, I'm really getting into production.
28:03There's a lot of writers that I'd like to write with.
28:07Not necessarily in a collaborative way,
28:12but just kind of be part of the process and watch them do their work.
28:16I'd love to work with Saida Wodega and Shia Girl.
28:21But yeah, I'm in no rush for those things, you know.
28:24Sweet. Well, good luck, man.
28:26Thanks very much.
28:27Thanks, dude.
28:28Cheers.