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Other Voices - Season 24 - Episode 02
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00:02Dingle, a heavy attack!
00:34Hugh, come on.
00:36Oh, sorry.
00:36Hammer's rolling.
00:37Just enjoying the beautiful view of the Dingle Peninsula.
00:40And the sandwich.
00:40And the sandwich.
00:41Welcome to Other Voices.
00:43We've got another incredible show in store for you tonight.
00:46We do.
00:47Some amazing performances in the church.
00:49You're going to see Shame, who caused nearly a riot in the church.
00:51They're amazing.
00:52We also have Doug, and we have a beautiful soul singer from Reading called Jesse Blakemore.
00:56But to kick things off, playing music from their incredible third album, this is Dry Cleaning.
01:01You can finish it now.
01:03Where's my sandwich?
01:04In peace.
01:28You're always fun to be You're always stressing me out
01:39Don't press me Yeah, you press me Don't press me
02:05I'm still cheap, I'm in black, cold, cold, cold It's my big boy, can't be
02:13All I could hear was a game mouse So don't touch my game mouse
02:18It's be flat
02:30guitar solo
02:57I am wildly excited about this next act.
03:00They are truly one of the best live acts on the planet.
03:03They're here in St. James' Church for other voices
03:05to play music off their four incredible records,
03:08including their latest masterpiece, Cutthroat.
03:11As the band say themselves, this is not performance art.
03:14These shows are direct, raw and confrontational.
03:17Are you ready, Dingle?
03:17This is Shane.
03:23Dingle!
03:26Dingle!
03:27Dingle!
03:27Dingle!
03:34Dingle!
03:41Dingle!
03:42Dingle!
03:44Dingle!
03:45Dingle!
03:56Dingle!
03:58Dingle!
04:01Dingle!
04:09Dingle!
04:17Dingle!
04:25Dingle!
04:28Dingle!
04:42Dingle!
04:45Dingle!
04:46Dingle!
04:47Dingle!
05:11Dingle!
05:22Dingle!
05:27Dingle!
05:37Dingle!
05:39Dingle!
05:41Take what you want, when you want
05:45What you want, when you want
05:48And you take it like this, take it like this
05:51Take it like this, take it like this
05:53Take it like this, take it like this
05:57Motherfucker, I was falling apart
06:00Motherfucker, I was falling apart
06:05Why do you feel so nice?
06:08I'm sure I'm not the only one
06:12Cause I'm afraid we'll stay the same
06:18So why not do what you want to do?
06:25So why not do what you want to do?
06:48So why not do what you want to do?
06:55So why not do what you want to do?
07:09Thank you very much
07:16Now, someone who's come all the way from England for this show tonight
07:19She released an EP in October that's been doing really, really big things
07:22But please can you give her a very typically warm Dingle welcome
07:26This is Jessie Blakemore
07:33I thought I was really nice
07:42Don't know why I defended thoughts
07:50You've got secrets I've got seizures
07:53Underneath your eyes
07:55Closer than I've been
07:58Leaving me with nothing
08:00To sell your love to breathe
08:02I'll pretend I don't know what happens
08:06Or you scream
08:10Phone sex
08:12Quit chase
08:13Does she do it for you?
08:16Violence
08:16Brainness
08:18When she look like I
08:20With IG
08:22More those in your head
08:25I can't compete
08:27Maybe
08:29Maybe
08:29Maybe I'm not a fool
08:33Maybe
08:34Yeah, yeah, yeah, yeah, yeah, yeah
08:37Maybe I'm not a fool
08:42Maybe
08:43Yeah, yeah, yeah, yeah, yeah, yeah
08:49What does it take to change a man?
08:53Yeah, yeah, yeah, yeah, yeah
08:58When it just was what he can't have
09:06Oh, I'm scrolling through your pixels
09:10Hoping she's a bitch too
09:11Hoping she's a bitch too
09:12Hated that I miss you
09:14Cause I feel it
09:15When I kiss you
09:17Like I could be a bitch too
09:19Wishing I could treat you like nobody
09:22Yeah, yeah, yeah, yeah, yeah
09:27Phone sex
09:28Quit checks
09:29Thought she'd do it for you
09:32Violence
09:33Brainness
09:34When she look like I
09:36With IG
09:38More those in your head
09:41I can't compete
09:43Maybe
09:45I'm not a fool
09:47Oh
09:48Maybe
09:50Yeah, yeah, yeah, yeah, yeah, yeah
09:53Oh
09:54Maybe I'm not a fool
09:58Maybe
09:59Maybe
10:00Yeah, yeah, yeah, yeah, yeah
10:03Send some text you sold your phone
10:07Only found them on my own
10:09Wishing I could treat you like nobody could need you
10:14Send some text you sold your phone
10:16Only found them on my own
10:19Wishing I could treat you like nobody could need you
10:25Thank you
10:31Thank you so much
10:41Jessie Bakemore, how do you describe what you make?
10:43I always say it's kind of like R&B
10:45Yeah
10:46That's kind of maybe indie-leaning, kind of folk-leaning
10:49Yeah, I mean you're a gorgeous guitar player
10:51Oh, thank you
10:51So when did you first pick up a guitar?
10:53When I was quite young
10:54So my dad has played guitars around me since I was a kid
10:57I always, like, had that around me
10:59I got really shy about performing
11:01So I kind of stopped for a couple years
11:02And then when I was maybe like 15, 16
11:05I started to think, oh, actually I really enjoy this
11:07So let me just throw myself into it, yeah
11:08And were you writing songs then as well?
11:10Yeah, I was
11:11I mean, they're probably pretty bad songs
11:13But yeah, just always writing
11:15I used to love, like, poetry too
11:17So just always writing stuff, writing my thoughts down
11:19And was there a moment when you did perform
11:23Where you kind of felt like, okay, this could be something?
11:28Yeah, I mean, it's weird
11:29Because I think a lot of it has been online
11:31So, like, so kind of performing to my phone
11:34Which is kind of weird
11:35And there were a couple of videos I posted a while back
11:37That got a bit of attention
11:38And I was like, okay, this actually feels good
11:40This could be something
11:41Maybe we gave it too many chances
11:45Fuck it, what's one more?
11:52And I could give a fuck if your boyfriend's waiting at home
11:59Home
12:01I miss the way you made me feel
12:05Come and visit that thought
12:08Let the apathy build
12:11I miss the way you made me feel
12:16Come and visit that thought
12:19Let the apathy build
12:22And call me from your boner, boner night
12:28Call me from your boner, evil, no
12:33Call me from your boner, boner, yeah
12:39Call me from your boner, evil, beautiful
12:47Tell me that you love me like a brother
12:51But I'm sensing more
12:55Sensing, yeah, yeah
12:58I want to give you the world
13:01But you've already got your own
13:04Got your own
13:07And though it's both of us involved
13:11Leave it to me, I'll handle damage control
13:16And though it's both of us involved
13:22Leave it to me, I'll handle damage control
13:27Call me from your boner, boner phone
13:32Call me from your boner, evil, no
13:38Call me from your boner, boner
13:44Call me from your boner, boner, boner
13:51Don't hang up, just call me back from my boner phone
13:53You've been sleeping, I've been waiting up for you to get home
13:56Couple lies, couple texts, couple pennies spinning
13:59All the things I said you know I never meant
14:01Ears fill the heat when our conversation's done
14:04I'm talking about you in my sleep
14:05You know that I could say it's wrong
14:06A lie, well maybe I could say it's true
14:09Burn it, baby, brighter than the sun for you
14:14Boner phone
14:16Don't call me, don't call me
14:22From your boner, boner
14:26Call me from your boner, boner
14:32Thank you so much for singing, everybody
24:40You guys, both in the way you talk in interviews and the way you write music, have like,
24:45spoken a lot about the omnipresence of hypocrisy and cowardice around the world.
24:51So, in that context, let's talk about Cutthroat, which is such a banger of an album.
24:56It's restored some of the fight in me, for sure, and I was feeling a bit lethargic.
25:00I'm glad.
25:00So, will you talk to me about the approach to Cutthroat and your wonderful producer?
25:05I mean, I think, yeah, John Congleton, who's the producer in the record, really steered the ship.
25:10I think in the studio, when we were kind of shaping it, it was all quite excessive, I think.
25:18You know, like with the title track, Cutthroat, we were just like, well, let's go all the way.
25:22Or Lampiao, you know, let's go sort of all the way with that, you know, where it's sort of with
25:27the Brazilian Portuguese.
25:29And then with the electronic side, it was all a big combination.
25:32But, yeah, I mean, Sean, you know, did a lot of the writing, so.
25:36Yeah, I think it's funny, I find, especially with our process, we usually have a thing where we think about
25:42things too much for about a six, seven-month period.
25:45And we kind of don't get anything. I'm sure you've experienced this yourself, you know.
25:50And we kind of, we don't do it, we don't do anything, everyone's miserable, nothing good's coming.
25:54And then we kind of, you know, especially when John came in, I think his ethos is very much, I
25:59think we need this a lot, which is someone to kind of make decisions.
26:02Because I think we're so democratic and there's five of us that it can quite quickly grind to a halt.
26:07And so he kind of came.
26:08Democracy is overrated.
26:09It is, it is. It is overrated, yeah.
26:12And he kind of just came in and, you know, I think he just really pushed us to just not
26:17think about it and just write songs and finish songs.
26:19And that's kind of, you know, so it feels like the album took a year and a bit to make,
26:24but really it was probably like a three-month period where it just kind of, we were just like, oh,
26:28for fuck's sake, let's just stop overthinking all this.
26:31And we just kind of got it done really quick.
26:32But it was a, it was a really nice kind of cozy album experience.
26:36And it was really, there was no stress, there was no fighting.
26:38It was the most easy album we've ever recorded, I think.
26:51Over in the past, A.
26:55The tad, A.
26:57The sad woman who left out, A.
26:57The sad woman who left out, A.
26:57The sad woman, I think, that the boy who left out, A.
26:59The sad woman, I think, that the woman that was like, oh, is that it?
27:02The sad woman that was like, oh, y a little girl.
27:02The sad woman I think is the same.
27:06Or this is a the man that's bad, Things I think!
27:11understand. And if you want a car looking for him, you can still hear his name once
27:15comes through the northeastern terrains of Brazil. Olympia, where are you now? Olympia,
27:26where are you now? And military operations try to conquer his vocation, where the good
27:35doing bad or the bad doing good. I'm not here to say, there's a bullet in him from both
27:40sides. And later, not by candlelight, he writes stories. And she lay beside his love, Maria
27:45Benito. Silver turned to gold, with a poor birth and a rich soul, that motherfucker's called
27:51Olympia. Olympia, where are you now? Olympia, where are you now? I call the Maria Bonita,
28:16with a high school. But they caught him in the end, executed him as love in his king of
28:26settles. They left their heads hang for public display on the streets of Salvador. And long
28:31When its name remained in the storage of football
28:34I did not place where the water runs white
28:36Some say his gunshots are still lighting up the night
28:43Olympia, where are you now?
29:27Come on, motherfucker!
29:29Come on, motherfucker!
29:31Come on, baby!
29:37Let's see some shots inside!
30:13Let's see some shots inside!
30:18Let's see some shots inside!
30:32Well, thank you for having us.
30:33This is our last song.
30:35Cheers!
30:37Cheers!
30:59Cheers!
31:04Cheers!
31:06Cheers!
31:16Cheers!
31:27Cheers!
31:31Cheers!
31:48Cheers!
31:50Cheers!
31:51Cheers!
31:54Cheers!
31:54Cheers!
31:55Cheers!
32:10Cheers!
32:22Cheers!
32:27Cheers!
32:28Cheers!
32:36Cheers!
32:37I ain't lost in hell
32:41But if you think I love you
32:44You gotta do what I care
32:48When I'm not born to know that
32:52And I ain't lost in hell
32:55But if you think I love you
32:59You gotta do what I care
33:03And your friends are conflict
33:06And your friends are conflict
33:09And your friends are conflict
33:13Just let go, just let go
33:16And your friends are conflict
33:20And your friends are conflict
33:23And your friends are conflict
33:26Just let go, just let go
34:29So, my next song is a cover.
34:32It's one of my favorite songs.
34:33It's called X Factor by Lauren Hill.
34:36Whoa.
34:37Yeah, I love it so much.
34:38So, if you know the words, please sing with me.
34:57It could all be so simple.
35:05Oh, but you'd rather make it hard.
35:11See, love to you is like a battle.
35:17Oh, and we both end up with scars.
35:24Tell me who I have to be to get some rest.
35:35See, no one loves you more than me.
35:45No one ever will.
35:53Is this just a silly game?
36:00The force is you to act this way.
36:08The force is you to scream my name.
36:16And pretend like you can't stay.
36:21See, I know what we've got to do.
36:36See, no one's hurt me more than you.
36:43And no one ever will.
36:47No matter how I think we grow.
36:52You always seem to let me know.
36:55It ain't working.
36:59It ain't working.
37:01And when I try to walk away, you urge yourself to make me stay.
37:09This is crazy.
37:13This is crazy.
37:17Care for me, care for me.
37:20Said that you're there for me, there for me.
37:23Said you would cry for me.
37:26But would you live for me?
37:32Care for me, care for me.
37:34Said that you're there for me, there for me, there for me.
37:38Said you would cry for me.
37:41But would you live for me?
37:45Would you live for me?
37:51Would you, would you cry?
37:58Would you live for me?
38:08Would you live for me?
38:13Would you live for me?
45:03I feel like there was a moment where we was all in lots of different projects and there
45:06was a moment where we were freed up.
45:09We had three times.
45:09Yeah.
45:09They're all ending naturally-
45:10At the same time.
45:11So it was like, let's just have a jam there, the three of us.
45:13So he used to go for Sundays over at his mum's, in his mum's garage.
45:16And she'd cook us a Sunday dinner and we do like 10 minutes of playing in about four hours of
45:20eating
45:21Yeah, yeah, and then eventually your mom started going. Are you gonna do any work today?
45:25Yeah, so that's when we took it seriously. Yeah
45:29Florence's lyrics are
45:31Sometimes hilarious sometimes deeply deeply intriguing. And when do you hear?
45:37Florence's lyrics for the first time in the band it varies a lot
45:41So depends on kind of the room we rehearsed in a lot of times we're in a room where we
45:44can't really hear much
45:45Right, it's like a really small room
45:48So Flo might just have some in-ears in and be hearing herself and then now again we project to
45:52the room
45:52But you can only hear like rhythms and kind of like slight melodies and kind of when you play against
45:57that
45:57So a lot of times not to the studio, but kind of varies record by record and song by song
46:01Sometimes you get really early. Sometimes you don't get it until
46:05Until you've recorded it. Yeah, and when it comes to playing live then I'm guessing there's no room for
46:11Lyrical like lyrical improvisation from Florence is there it depends when you when we sort of do like a headline
46:17tour
46:19It does open up a bit more because you sort of get chance to sort of
46:23Know where you're at with songs songs naturally sort of stretch
46:27Because when you record a song it's still quite early in the song's life. Yeah, so you get when you
46:32play it live
46:32That's it comes back to life again. It has a whole other life as a live song not a recorded
46:37one
46:37So there is room for improvisation. Yeah
46:39Thank you
47:10So designing cruise ships is my custom and my living and my child
47:18Designing cruises is for me and for which a lesson you need to do it all the time
47:29Cruise ship is on here
47:31I'm struggling
47:33I'm struggling while the iron is home
47:34I can be on the iron at run
47:36I'm getting the most of a bad situation fixed
47:39I'm a mumbling road
47:41I'm a mumbling road
47:42I'm a mumbling road
47:43And I design of toys
47:47That close control that sea
47:51For I'm a semi anonymous
47:54Lion radders
47:56I've forgotten that fish is fine
47:58I believe in design
48:19I'm striking by the eye in his heart
48:22I'm striking by the eye in his heart
48:29I've got such huge music while we fight
48:32For probably mine
48:54And I'm sure that he has the messages in the last week
49:26I'm striking by the eye in the last week
49:30You
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