So that kind of sets the, this is a possibility.

Yes.

And that's the only time I've ever like with my eyes seen something I can't explain.

These other things feel a little more like, I don't know, spiritual, metaphysical or something like that, which like I'm sure different people have many different opinions on of like, that's this, that's this.

To me, because I think because I like ghosts, I'm like that felt like a ghostly experience.

But I'm sure other people could like interpret it in different ways.

And it's funny because they they like both kind of have to do with music.

here i

So I think that's the pressure.

Yeah.

And that creates a dynamic that's just not necessary.

It's a lot of pressure for artists to be under.

And at the same time, they might be working with individuals in the art world or organisations that aren't sympathetic to Christian faith.

And so how does one then approach ideas of faith in their work? I think the landscape's changed.

And even in the last 20 years or so, when I was in art school in Glasgow, it was extremely unusual to be a person of sincere faith and be working professionally in the art world.

This is in Dalston?