Yeah, yeah.

Look like they do.

They don't necessarily sound like they do, but they do kind of look like they're in some kind of discomfort.

That seems to be part of the whole, you know, apparatus of getting that sort of sound out.

And, yeah, just as I said, the level of discipline required for it and...

But I remember...

A family friend who was an opera singer, Alison Browner, she still, you know, she still performs in Germany, but she's an opera singer.

Yeah, yeah.

Who will be your guests on

stage? Well, actually, it's funny because I realise when I do the show, I realise there's quite a lot of people from Cork in it.

And not that I like taking the mickey out of Cork people or anything like that.

But there are a number of Corkonians in there.

And I think it's because, you know, there's something about the Cork persona that kind of lends itself to, I'm not going to say ridicule, But to to to a little bit of slagging.

And so, well, I'll tell you who's in there.

There's quite a few politicians that aren't from Cork, to be honest.

He won't waste five minutes telling you.

the man said to George Best, where did it all go wrong? Yeah.

Exactly.

So you're putting me in the category, George.

That's great.

Win-win.

Yeah, no, I probably went down that line for a little while.

And it was something, again, like that my parents both did.

Right.

the man said to George Best, where did it all go wrong? Yeah.

Exactly.

So you're putting me in the category, George.

That's great.

Win-win.

Yeah, no, I probably went down that line for a little while.

And it was something, again, like that my parents both did.

You know, you were doing this, you were doing comedy almost in real time, right?

Are some people very doable?

Yeah, I think they are.

And I suppose it depends on your own vocal dexterity, I suppose, to some extent.

And also how you hear people.

There are some people, I suppose, that... you need to make it a very, like I do a sketch, for example, with George Hook and with the contrast

between him, say, and

Eddie O'Sullivan, you know, and that sort of contrast between those two is kind of a paramount to the sketch working because there's just such a big kind of vocal shift.

I mean, when you look, I suppose, right, at the commentary that we see now, and lots of which are working the World Cup, would you be able to do that pretty much that would be successful now?

In the sense that egg on face is often the

eventuality? How can you know? I mean, you don't know.

I mean, really the honest answer that most pundits would say to that question is, I don't know.

But obviously you're in a position as a pundit to come up with some things, come up with some theory as to why probably Ireland will beat Italy, for example, tomorrow.

Or why England will probably beat Scotland.

But the reality is Scotland could beat England and Italy could well beat Ireland.

Although I think that's unlikely.

Whereas somebody who actually does it for a living, do you notice the rugby feedback a little bit more? What are you doing here compared to football or other sports?