Colin MacIntyreGuestHarryHost[laughs] Yeah, yeah, just looking at back at that, um, the era of, of music really, especially in the UK, um, in the 2000s.
And it's interesting, like obviously doing my research about your career and, uh, I feel like you may be, you were a little, a little older when it came into the early 2000s.
Were you...
So it's interesting to get your take.
Like, do, did you feel there was something different happening at that point?

I suppose when you're on trying to, you know, get your music going or you're on, you're hopefully getting to that kinda cusp of getting it going, then, um, it always feels for anyone that era is quite important or quite, um, uh, you know, kinda resonates with you.

So yeah, it seemed like there was a lot of kind of exciting music and a bit of a kinda shifting sort of trend, you know, with kind of the more guitar-oriented music, you know.

I was, I was really into, you know, leading up to that period of the sort of turn of the millennium, you know, um, OK Computer, um, you know, things like, uh, Mercury Rev, Desertessongs, Flaming Lips, Wu-Tang Clan, Belle and Sebastian.

Um, you know, so I suppose for me it was a kind of mix of those influences and you hope to then find your own authentic, you know, thing out of that, you know.

So, um, but yeah, I think it, it did feel like I was in Glasgow, so I'm from the Isle of Mull from the Hebrides, but by that kind of late '90s I was in Glasgow and trying to get my music going.

I kinda got Mull Historical Society start, you know, I, I kinda got it started in Glasgow really.

Um, and so I was quite keen to try and infiltrate that sort of Glasgow scene of, um...

And there was a great football booking where there was sort of Snow Patrol, Teenage Fanclub, Belle and Sebastian.

And I was, I was always kind of, even though it sounds like, you know, Mull Historical Society, it kinda sounds like a collective.

Well, the audience are the society really, but, um, I was always kind of on my own, you know.

So I was new to a city, came from a small, you know, 2,000 people on the island I grew up on.

So, um, it was quite a big rush of change and it was good to try and find where the music scene was happening, you know.

So that's my kind of experience of that period in Glasgow and then going to London quite a bit to try and play at various A&R scout sort of nights and stuff, you know.

So, um, but yeah, I think I signed with Rough Trade and then Warners and so definitely, um, found myself in amongst that period and touring with quite a lot of people of that period and getting to know a lot of those bands.

I always felt a bit like an outsider, but I feel like, yeah, you're right, maybe, you know, I wasn't 18, you know, when I got signed.

So there seems to, you know, you look back retrospectively, there seems to be a kind of impression that I almost arrived fully formed.
[laughs] Yeah, yeah, just looking at back at that, um, the era of, of music really, especially in the UK, um, in the 2000s.
And it's interesting, like obviously doing my research about your career and, uh, I feel like you may be, you were a little, a little older when it came into the early 2000s.
Were you...
So it's interesting to get your take.
Like, do, did you feel there was something different happening at that point?

I suppose when you're on trying to, you know, get your music going or you're on, you're hopefully getting to that kinda cusp of getting it going, then, um, it always feels for anyone that era is quite important or quite, um, uh, you know, kinda resonates with you.

So yeah, it seemed like there was a lot of kind of exciting music and a bit of a kinda shifting sort of trend, you know, with kind of the more guitar-oriented music, you know.

I was, I was really into, you know, leading up to that period of the sort of turn of the millennium, you know, um, OK Computer, um, you know, things like, uh, Mercury Rev, Desertessongs, Flaming Lips, Wu-Tang Clan, Belle and Sebastian.

Um, you know, so I suppose for me it was a kind of mix of those influences and you hope to then find your own authentic, you know, thing out of that, you know.

So, um, but yeah, I think it, it did feel like I was in Glasgow, so I'm from the Isle of Mull from the Hebrides, but by that kind of late '90s I was in Glasgow and trying to get my music going.

I kinda got Mull Historical Society start, you know, I, I kinda got it started in Glasgow really.

Um, and so I was quite keen to try and infiltrate that sort of Glasgow scene of, um...

And there was a great football booking where there was sort of Snow Patrol, Teenage Fanclub, Belle and Sebastian.

And I was, I was always kind of, even though it sounds like, you know, Mull Historical Society, it kinda sounds like a collective.

Well, the audience are the society really, but, um, I was always kind of on my own, you know.

So I was new to a city, came from a small, you know, 2,000 people on the island I grew up on.

So, um, it was quite a big rush of change and it was good to try and find where the music scene was happening, you know.

So that's my kind of experience of that period in Glasgow and then going to London quite a bit to try and play at various A&R scout sort of nights and stuff, you know.

So, um, but yeah, I think I signed with Rough Trade and then Warners and so definitely, um, found myself in amongst that period and touring with quite a lot of people of that period and getting to know a lot of those bands.

I always felt a bit like an outsider, but I feel like, yeah, you're right, maybe, you know, I wasn't 18, you know, when I got signed.

So there seems to, you know, you look back retrospectively, there seems to be a kind of impression that I almost arrived fully formed.
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