How's

your experience on stage? It's different for me, right? Because, you know, Tom's the artist, we're the band and like...

We all perform, but like, how do I put this? It's like I perform, but I'm, when I, I personally, I'm quite preoccupied in, in the boys on stage and the band, you know? And I think if you do that first and foremost, the crowd will feel that.

Yeah.

But, totally get with the in-ear thing like it's quite unnatural to just have a kick drum going from a earpiece onto into your eardrum you know like it's wild and you could be in the biggest room ever but that doesn't change you know and and it does and you are your ears are closed off so you there is a detachment but I'm forever pulling ears out pulling an ear out so I do get there I can feel the noise of the crowd you know because sometimes you want that and it's like Sometimes you want to hear the music with a bit of ambience around it, especially if you know a song well.

If I'm playing pedal steel with Tom, quite often I'll pull an ear out because you don't want to hear the steel next to the piano right next to your ear.

Sometimes you want to hear it from the amp behind you where the air is moving a bit or just the sound of it in the room.

in America that can do that I just want to touch on your songwriting as well because we'll go on to your own songs a little bit later but working with Tom you've got writing credits most notably Black Friday which was nominated for the Ivor Novello how does that songwriting process work and how did it feel to be part of the writing team that was recognized for that song um