1 00:00:02,000 --> 00:00:07,000 Downloaded from YTS.MX 2 00:00:08,000 --> 00:00:13,000 Official YIFY movies site: YTS.MX 3 00:00:19,440 --> 00:00:21,640 [warm music] 4 00:00:23,800 --> 00:00:28,680 [Dan] Um... we are... for Bastille, 5 00:00:28,760 --> 00:00:31,760 I think we're just going to work on new music, 6 00:00:31,840 --> 00:00:35,080 and we're about to tour in Australia and New Zealand. 7 00:00:35,760 --> 00:00:39,040 Yeah, I think we're just going to do some ReOrchestrated shows 8 00:00:39,120 --> 00:00:43,600 and concentrate on making-- making a really great new album, hopefully. 9 00:00:44,160 --> 00:00:46,040 What about you, what's 2020 for you? 10 00:00:47,200 --> 00:00:49,600 [violins playing] 11 00:00:49,680 --> 00:00:52,640 [crowd cheering] 12 00:01:09,720 --> 00:01:12,160 [Dan] It's obviously been a super surreal year. 13 00:01:15,640 --> 00:01:18,160 And the idea that a year ago, you know, 14 00:01:18,240 --> 00:01:20,520 we would have been locked down for however many months 15 00:01:20,600 --> 00:01:23,600 and everyone, you know, hiding away in their houses, 16 00:01:23,680 --> 00:01:26,080 it was almost like totally unthinkable. 17 00:01:27,040 --> 00:01:31,080 And it's so interesting seeing the world like collectively gasp and stop. 18 00:01:37,080 --> 00:01:42,280 I was like a very introspective, self-conscious teenager, like a lot. 19 00:01:42,360 --> 00:01:45,920 And so for me, this whole, like, this whole phase of my life 20 00:01:46,000 --> 00:01:48,440 when we've been in a band has been 21 00:01:48,520 --> 00:01:51,160 this tension between loving making music 22 00:01:51,240 --> 00:01:52,760 and the satisfaction of creating something 23 00:01:52,840 --> 00:01:55,720 with, like, just really not liking being on stage. 24 00:01:57,440 --> 00:01:58,800 Suddenly, we were like... 25 00:01:59,400 --> 00:02:01,640 ...at the pinnacle of whatever mainstream is, 26 00:02:01,720 --> 00:02:03,760 and we'd never aimed to that or perceived 27 00:02:03,840 --> 00:02:05,560 that that was even an option for us. 28 00:02:05,640 --> 00:02:08,320 Relentlessly touring for years and years and years, 29 00:02:08,400 --> 00:02:10,840 obviously, there's moments that are fucking amazing. 30 00:02:10,920 --> 00:02:13,360 And not to say that we're not grateful for it, 31 00:02:13,440 --> 00:02:15,400 but like anything that people do a lot, 32 00:02:15,480 --> 00:02:17,520 like any job, you come to a point 33 00:02:17,600 --> 00:02:19,240 where you've just, like, had enough. 34 00:02:19,320 --> 00:02:21,680 [crowd cheering] 35 00:02:21,760 --> 00:02:25,040 For a band of their size and of their popularity, 36 00:02:25,120 --> 00:02:28,480 they'd done hundreds of shows with the same model. 37 00:02:28,560 --> 00:02:30,720 I'm not thinking about what I'm playing, I'm thinking about 38 00:02:30,800 --> 00:02:33,160 pulling daft faces to try and put Will off or something like that. 39 00:02:33,240 --> 00:02:35,640 I think I was trying to figure out what track, which was really boring, 40 00:02:35,720 --> 00:02:37,360 like four songs had gone passed, 41 00:02:37,440 --> 00:02:39,800 and I hadn't even registered that I played in it. 42 00:02:39,880 --> 00:02:41,880 I don't know whether it became boring 43 00:02:41,960 --> 00:02:44,920 or whether it became tiresome or kind of-- 44 00:02:45,000 --> 00:02:48,880 or samey, but ReOrchestrated just blew that out the water. 45 00:02:51,400 --> 00:02:54,640 [light dramatic violin playing] 46 00:03:01,120 --> 00:03:04,680 ["Million Pieces" by Bastille ft. The Chamber Orchestration Of London playing] 47 00:03:08,040 --> 00:03:11,080 ♪ I breath in hard ♪ 48 00:03:11,880 --> 00:03:15,560 ♪ Don't speak because it's like a bitter pill ♪ 49 00:03:15,640 --> 00:03:18,240 ♪ You blow my mind ♪ 50 00:03:18,320 --> 00:03:20,040 ♪ You make my heart beat ♪ 51 00:03:22,360 --> 00:03:24,720 When I was at university, I was making 52 00:03:24,800 --> 00:03:30,360 sort of linear narrative, weird pop music at the piano, 53 00:03:30,800 --> 00:03:34,240 inspired by people like Regina Spektor and Antony & The Johnsons... 54 00:03:35,040 --> 00:03:36,840 I just met him at a pub in Wimbledon, 55 00:03:36,920 --> 00:03:40,200 and-- and, like, he was very much on his own then. 56 00:03:40,280 --> 00:03:42,760 It was a lot more left-field sort of stuff as well 57 00:03:42,840 --> 00:03:44,280 than like-- with a loop pedal. 58 00:03:44,360 --> 00:03:46,240 Um, that fucking loop pedal. [chuckles] 59 00:03:47,480 --> 00:03:50,760 We would rehearse in his bedroom, just kind of haul some gear down the road 60 00:03:50,840 --> 00:03:53,840 and then playing to sort of empty rooms and whatnot, 61 00:03:53,920 --> 00:03:56,440 and for a period we were kind of like Spinal Tap with drummers 62 00:03:56,520 --> 00:03:59,760 where they're always just combusting, I think Will was like our seventh 63 00:03:59,840 --> 00:04:02,040 bass player or something, but he finally stuck. 64 00:04:02,560 --> 00:04:05,600 It was presented to me as, "There's this guy, do you want to play for him?" 65 00:04:05,680 --> 00:04:08,640 And I think the idea was, eventually there might be some money 66 00:04:08,720 --> 00:04:11,560 to pay you, like a session rate for it. 67 00:04:12,120 --> 00:04:15,760 Then he invited me around for dinner, because he's super, super, like, amicable like that. 68 00:04:15,840 --> 00:04:17,160 But for me that was like-- 69 00:04:17,240 --> 00:04:19,320 because I was sort of a complete misanthrope, 70 00:04:19,400 --> 00:04:21,480 I'm like, "What's this guy's game?" [chuckles] 71 00:04:22,200 --> 00:04:24,520 It was the first time for-- at that point in years 72 00:04:24,600 --> 00:04:26,640 that I had just heard something I was like, 73 00:04:26,720 --> 00:04:29,320 "I really, really want to be part of this." 74 00:04:29,400 --> 00:04:31,160 But we're like, "We're going to try make it band, 75 00:04:31,240 --> 00:04:32,680 we need a keyboard player." 76 00:04:32,760 --> 00:04:35,040 And so we just asked everyone we ever met, 77 00:04:35,120 --> 00:04:38,240 and the only person who said yes was Kyle. 78 00:04:39,000 --> 00:04:41,680 After I think maybe the third or fourth time that he said that, 79 00:04:41,760 --> 00:04:43,280 the next day I woke up and I was like... 80 00:04:45,000 --> 00:04:46,360 ..."Maybe I'll message that-- 81 00:04:46,440 --> 00:04:48,600 message that-- that Dan guy." 82 00:04:48,680 --> 00:04:55,680 ♪ Icarus is flying too close to the sun ♪ 83 00:04:55,760 --> 00:04:57,000 Remember this! 84 00:04:57,600 --> 00:05:00,200 ♪ Icarus's life ♪ 85 00:05:00,280 --> 00:05:02,680 [Dan] Yeah, we played like most pubs, tiny venues, 86 00:05:02,760 --> 00:05:04,880 drove ourselves up and down the country. 87 00:05:05,440 --> 00:05:09,160 We used to cram everything into a car we borrowed off our friend's mom. 88 00:05:09,840 --> 00:05:11,800 Kyle and Will would be wedged in the back, 89 00:05:11,880 --> 00:05:14,840 keyboards across them, drums everywhere, only Woody and I could drive, 90 00:05:14,920 --> 00:05:17,320 so we had to do all the driving. 91 00:05:17,400 --> 00:05:21,160 And driving five hours to get to Wrexham to play to eight people. 92 00:05:21,240 --> 00:05:25,280 ♪ Ooh, listen to my voice ♪ 93 00:05:27,680 --> 00:05:29,800 Having to do a gig was terrifying. 94 00:05:29,880 --> 00:05:31,840 I think I had to get just really shit-faced 95 00:05:31,920 --> 00:05:33,880 to get out there and play. 96 00:05:33,960 --> 00:05:34,880 I love you all. 97 00:05:35,240 --> 00:05:36,880 [Kyle] He had very clear visions, 98 00:05:36,960 --> 00:05:39,560 but was-- he just didn't want anyone to know who he was. 99 00:05:40,800 --> 00:05:44,040 But inside of him was all these things that I felt everyone should listen to. 100 00:05:44,120 --> 00:05:46,360 It's like, that's trapped inside of this, I was like, 101 00:05:46,440 --> 00:05:48,240 "God, what are you going to do?" 102 00:05:48,800 --> 00:05:51,640 [Dan] We came up sort of as an Indie band. 103 00:05:51,720 --> 00:05:54,160 We'd get written about quite a lot on blogs, 104 00:05:54,240 --> 00:05:57,600 and people would watch our videos and come to our gigs, 105 00:05:57,680 --> 00:05:59,880 and that was like-- that felt really good. 106 00:06:01,440 --> 00:06:03,440 Do you mind if we get a photo with you guys? 107 00:06:03,520 --> 00:06:04,440 No, not at all. 108 00:06:05,360 --> 00:06:07,440 [Chris] As you go, the venues you play 109 00:06:07,520 --> 00:06:10,040 maybe go from being completely empty to like maybe half-full 110 00:06:10,120 --> 00:06:13,400 or something, and it gradually sort of built momentum a bit. 111 00:06:13,480 --> 00:06:18,240 We've just been on a-- a sort of ten, 12 day tour of the UK. 112 00:06:18,320 --> 00:06:20,080 We started in Ireland, then Scotland, 113 00:06:20,160 --> 00:06:22,480 and then like down through-- down through England. 114 00:06:22,560 --> 00:06:24,160 Weirdly the whole thing kind of sold out, 115 00:06:24,240 --> 00:06:26,560 so, um, which made the experience... 116 00:06:27,640 --> 00:06:29,120 ...I think a little bit more relaxed. 117 00:06:29,200 --> 00:06:31,880 ["Pompeii" by Bastille playing] 118 00:06:32,720 --> 00:06:34,320 ♪ Many days... ♪ 119 00:06:34,400 --> 00:06:36,320 [Dan] We were, like, playing to 120 00:06:36,400 --> 00:06:37,800 what started to become actual crowds, 121 00:06:37,880 --> 00:06:40,160 which was pretty nuts on its own. 122 00:06:40,240 --> 00:06:41,560 ♪ And if you close your eyes ♪ 123 00:06:42,120 --> 00:06:44,840 ♪ Does it almost feel like nothing's... ♪ 124 00:06:44,920 --> 00:06:46,600 [Mark] Bad Blood, the first album, 125 00:06:47,160 --> 00:06:49,480 pretty much the whole of it was made in my studio 126 00:06:49,560 --> 00:06:51,760 under a tower block in Battersea, 127 00:06:51,840 --> 00:06:56,680 um, just like a small industrial unit basically, with low ceilings. 128 00:06:56,760 --> 00:06:58,640 It was like the size of someone's cupboard. 129 00:06:58,720 --> 00:07:00,120 Like, you had to literally climb over the drum kit 130 00:07:00,200 --> 00:07:02,160 to get in the front door. It was that tiny. 131 00:07:03,680 --> 00:07:06,360 You're having to self-promote and write and play music, 132 00:07:06,440 --> 00:07:08,880 and it costs you money, and you're having to do it, 133 00:07:08,960 --> 00:07:11,800 you know, in and around school or uni or work... 134 00:07:12,440 --> 00:07:16,400 We basically had to go and find time in between our day jobs that were paying the rent. 135 00:07:16,480 --> 00:07:18,160 -[Will] How you doing? -[Dan] How are you doing? 136 00:07:18,240 --> 00:07:20,520 That period where I was sort of doing that three times a week, 137 00:07:20,600 --> 00:07:23,640 and getting in at three in the morning, getting up for a job at nine the next morning. 138 00:07:23,720 --> 00:07:26,880 -[Dan] New haircut. -It's cold. 139 00:07:26,960 --> 00:07:30,600 That felt like endless, like, just interminable pain. 140 00:07:30,680 --> 00:07:33,800 And then we got a record deal and everything got a little bit better. 141 00:07:33,880 --> 00:07:36,080 ["Things We Lost In The Fire" by Bastille playing] 142 00:07:36,160 --> 00:07:38,480 Kind of stressful time, because you're always aware 143 00:07:38,560 --> 00:07:40,560 if this doesn't happen then that's that. 144 00:07:47,520 --> 00:07:50,360 [Dan] It's good that they made a tweet that was four letters too long. 145 00:07:54,400 --> 00:07:56,840 -Shit. -[laughter] 146 00:07:57,720 --> 00:07:59,840 [Will] I can go and interfere with Kyle, that'd be funny. 147 00:07:59,920 --> 00:08:02,640 [Dan] Are we just doing everything we can for the police to come this time? 148 00:08:02,720 --> 00:08:07,960 The usual things like magazines, press, radio, TV, 149 00:08:08,040 --> 00:08:11,560 um, just either really didn't like us or completely ignored us. 150 00:08:12,800 --> 00:08:14,760 [Kyle] No one seems to know where we're doing it... 151 00:08:15,400 --> 00:08:20,280 ...so I'm hoping, I'm going to make a triangle... sort of our thing, 152 00:08:20,360 --> 00:08:23,240 and make it point down to where we're going to be playing, 153 00:08:23,320 --> 00:08:24,360 so then they know. 154 00:08:30,120 --> 00:08:32,280 So, we've already got one, two... 155 00:08:33,000 --> 00:08:35,280 ...young guys who didn't understand what was happening, 156 00:08:35,360 --> 00:08:37,760 old lady, red hair, that's five. 157 00:08:37,840 --> 00:08:39,680 It's going to be more than us already, 158 00:08:39,760 --> 00:08:43,240 so... it's a-- that's a mark-up on our... 159 00:08:43,800 --> 00:08:48,880 -There you go, we've done it! Done Norwich. [chuckles] -Can we leave now? 160 00:08:48,960 --> 00:08:52,120 -Isn't this what we're here for? -[Dan] Why is this 100 times more awkward than yesterday 161 00:08:52,200 --> 00:08:54,160 -Or the day before. -We were late for ourselves. 162 00:08:54,240 --> 00:08:56,720 -Just a load of idiot kids. -Yeah. 163 00:08:56,800 --> 00:09:00,280 Four awkward blokes turning up to an industrial estate in-- 164 00:09:00,360 --> 00:09:02,760 Is it seven? It is seven. Yeah, it's seven. 165 00:09:04,120 --> 00:09:06,480 [indistinct chatter] 166 00:09:09,440 --> 00:09:12,720 ♪ Icarus's life ♪ 167 00:09:12,800 --> 00:09:15,560 ♪ It has only just begun ♪ 168 00:09:15,640 --> 00:09:17,480 ♪ It's just begun ♪ 169 00:09:17,560 --> 00:09:19,720 ["Icarus" by Bastille playing] 170 00:09:19,800 --> 00:09:22,400 I always just like loved doing it. 171 00:09:22,480 --> 00:09:24,400 You know there's things that you're drawn to. 172 00:09:24,480 --> 00:09:27,360 But it was also always like kind of coupled with 173 00:09:28,000 --> 00:09:30,120 what I suppose now would probably be called, 174 00:09:30,200 --> 00:09:31,640 like, lots of anxieties. 175 00:09:34,400 --> 00:09:35,680 I'm not singing there. 176 00:09:37,000 --> 00:09:39,160 We played Reading, and I remember feeling like, 177 00:09:39,240 --> 00:09:42,040 "Fuck, maybe we're not heavy enough to be on the bill." 178 00:09:42,680 --> 00:09:45,960 [indistinct chatter] 179 00:09:49,320 --> 00:09:51,400 In a little tent and it was fucking rammed, 180 00:09:51,480 --> 00:09:53,920 and I remember playing the first chords of the song... 181 00:09:54,800 --> 00:09:57,040 [Dan singing] 182 00:09:57,120 --> 00:09:59,040 ...and the whole crowd started singing it, 183 00:09:59,520 --> 00:10:00,920 and it blew my mind. 184 00:10:01,520 --> 00:10:06,200 ♪ Can you listen to my voice? ♪ 185 00:10:06,280 --> 00:10:08,200 [Dan] So we put this song called "Flaws" out. 186 00:10:09,000 --> 00:10:12,560 It went in at like number 20 in the charts, which was insane. 187 00:10:12,640 --> 00:10:15,240 And at the time, like, you know, we're driving around in a little van, 188 00:10:15,320 --> 00:10:17,320 playing shows around the country, and we suddenly had this song 189 00:10:17,400 --> 00:10:19,560 that was in like the top 40. 190 00:10:19,640 --> 00:10:22,680 And I literally can't communicate to you how... 191 00:10:23,760 --> 00:10:25,720 ...beyond anything we'd imagined that was. 192 00:10:25,800 --> 00:10:27,600 [playing piano] 193 00:10:27,680 --> 00:10:33,240 ♪ You have always worn your flaws upon your sleeve ♪ 194 00:10:33,960 --> 00:10:40,360 ♪ And I have always buried them deep beneath the ground ♪ 195 00:10:40,440 --> 00:10:45,400 ♪ Dig them up, let's finish what we've started ♪ 196 00:10:46,680 --> 00:10:53,640 ♪ Dig them up so nothing's left untouched ♪ 197 00:10:54,440 --> 00:10:58,320 ♪ Ooh ♪ 198 00:11:01,000 --> 00:11:05,160 ♪ Ooh ♪ 199 00:11:10,040 --> 00:11:11,640 [woman] Goodbye, Dan! 200 00:11:11,720 --> 00:11:14,280 [cameraman] That was fucking mental! 201 00:11:18,160 --> 00:11:20,000 [unintelligible] 202 00:11:21,240 --> 00:11:24,200 -That was a little bit unexpected. -Man, that's so weird. 203 00:11:24,280 --> 00:11:26,400 [man] There's a hole in my heart for you, Dan. 204 00:11:26,920 --> 00:11:29,360 [Dan] And then at the very beginning of 2013, 205 00:11:29,840 --> 00:11:32,320 um, we put out "Pompeii," which... 206 00:11:32,920 --> 00:11:34,960 ...you know, I never knew it would do what it did, 207 00:11:35,040 --> 00:11:38,120 and it just, like, it just fucking blew up, 208 00:11:38,200 --> 00:11:40,960 and it was mad, like, who the fuck were we? 209 00:11:41,040 --> 00:11:43,360 I remember listening to the chart, they ring up the people. 210 00:11:43,440 --> 00:11:45,480 -[Chris] Yeah. -To be like, "Are you number two in the what? 211 00:11:45,560 --> 00:11:47,160 You're number two." 212 00:11:47,240 --> 00:11:50,000 But we're like... "Yeah!" 213 00:11:50,080 --> 00:11:51,560 Hello, Bastille, how are you? 214 00:11:51,640 --> 00:11:53,160 -Hi. -We're good. 215 00:11:53,240 --> 00:11:56,320 You are number two in the Official Charts. 216 00:11:56,400 --> 00:11:58,040 Yay! 217 00:11:58,520 --> 00:12:01,000 [woman on radio] The brilliant Bastille with "Pompeii." 218 00:12:02,880 --> 00:12:04,800 I really hope they're number one next week, 219 00:12:04,880 --> 00:12:07,720 such lovely boys and such an amazing song. 220 00:12:07,800 --> 00:12:10,920 ♪ Eh-eh-oh, eh-oh eh-eh-oh, eh-oh ♪ 221 00:12:11,000 --> 00:12:14,680 ♪ Eh-eh-oh, eh-oh eh-eh-oh, eh-oh ♪ 222 00:12:14,760 --> 00:12:18,800 [fans] ♪ Eh-eh-oh, eh-oh eh-eh-oh, eh-oh ♪ 223 00:12:18,880 --> 00:12:21,480 [crowd cheering] 224 00:12:50,240 --> 00:12:53,680 [upbeat drum music] 225 00:13:19,640 --> 00:13:21,920 On a day out with the lads on a horse and cart. 226 00:13:22,000 --> 00:13:23,200 Is that too much to ask? 227 00:13:24,200 --> 00:13:26,640 Just eating some noodles backstage at Saturday Night Live. 228 00:13:27,080 --> 00:13:29,840 I got my suit on for the Grammy's. 229 00:13:29,920 --> 00:13:31,040 Yay! 230 00:13:35,440 --> 00:13:37,520 [crowd cheering] 231 00:13:44,840 --> 00:13:46,880 [Dan] That album went to number one. 232 00:13:46,960 --> 00:13:48,720 It literally changed all our lives... 233 00:13:49,640 --> 00:13:51,680 ...critically, like, it got panned. 234 00:13:51,760 --> 00:13:53,600 [fireworks banging] 235 00:13:59,160 --> 00:14:03,680 Suddenly, all these people had to react to this album 236 00:14:03,760 --> 00:14:05,560 from this band that they'd never really cared 237 00:14:05,640 --> 00:14:09,800 or heard of... like, obliterated us. 238 00:14:09,880 --> 00:14:11,160 It's weird that at that time 239 00:14:11,240 --> 00:14:13,080 that should have been celebratory, 240 00:14:13,840 --> 00:14:15,880 as someone that's a bit of a pessimist anyway, 241 00:14:15,960 --> 00:14:17,840 I think I was always expecting it to fall apart. 242 00:14:18,240 --> 00:14:20,800 For most of it, the band wasn't signed, it wasn't like we weren't trying 243 00:14:20,880 --> 00:14:25,320 to please anyone. It was just do what we wanted at that point. 244 00:14:25,400 --> 00:14:27,160 They didn't really fit in, 245 00:14:27,240 --> 00:14:30,440 so, you know, they never were considered trendy. 246 00:14:30,520 --> 00:14:32,760 That's why I want to see them become successful 247 00:14:32,840 --> 00:14:34,720 and sort of put a finger up to everyone. 248 00:14:34,800 --> 00:14:37,000 Like, "What are you, an Indie Band? What are you?" 249 00:14:37,080 --> 00:14:41,320 Like, and that's so indicative of the slightly old school perspective 250 00:14:41,400 --> 00:14:45,080 of an arm of the music industry and the music press at the time. 251 00:14:45,160 --> 00:14:47,240 It's like, "No, but that's-- Like that's-- 252 00:14:47,320 --> 00:14:49,360 That's such an insane way to think." 253 00:14:49,440 --> 00:14:51,440 It's not like, "Hey, like, go, 254 00:14:51,520 --> 00:14:53,600 like, go and live in your own-- go live in a little box." 255 00:14:54,400 --> 00:14:56,720 [Dan] As a, like, young 20-something, 256 00:14:56,800 --> 00:14:59,120 who's a bag of nerves at the best of time, 257 00:14:59,200 --> 00:15:04,000 and to sort of... fumbled his way into this-- that position I wasn't expecting, 258 00:15:04,080 --> 00:15:07,280 it fucked me up, like... really did. 259 00:15:07,360 --> 00:15:09,920 It was like such a-- it was mainly like embarrassing. 260 00:15:10,000 --> 00:15:12,320 And I guess as someone with impostor syndrome, 261 00:15:12,400 --> 00:15:16,200 it didn't help with the old impostor syndrome and, like, levels of shame and stuff. 262 00:15:16,960 --> 00:15:18,960 [violin playing] 263 00:15:19,040 --> 00:15:23,000 But it's such a cliche to have been derailed by a bad review. 264 00:15:29,160 --> 00:15:32,800 I have always been so driven to-- to show people-- 265 00:15:32,880 --> 00:15:34,920 and maybe it comes from being this weird band 266 00:15:35,000 --> 00:15:37,520 that have these odd moments that are really mainstream, 267 00:15:37,600 --> 00:15:40,760 that are just the tip of the iceberg of what we do. 268 00:15:41,240 --> 00:15:44,840 And often the meat and bones of what we do 269 00:15:45,400 --> 00:15:48,800 that I think is really interesting and exciting, 270 00:15:48,880 --> 00:15:51,720 that stuff just gets lost, and I think it's picked up on by our fans, 271 00:15:51,800 --> 00:15:53,360 but maybe lost elsewhere. 272 00:15:53,440 --> 00:15:56,000 And so I feel maybe that... 273 00:15:56,880 --> 00:15:58,680 ...has driven me to constantly want to 274 00:15:58,760 --> 00:16:02,680 try and show people... these other sides of what we do. 275 00:16:04,640 --> 00:16:07,160 [guitar playing] 276 00:16:16,920 --> 00:16:19,080 Yeah, but I actually think even if you're doubling up, 277 00:16:19,160 --> 00:16:21,400 maybe go up in inversion, so it's... [singing] 278 00:16:22,040 --> 00:16:25,320 I guess the obvious, easy thing to do after our first record would have been to... 279 00:16:26,320 --> 00:16:29,680 ...to look to more trodden paths that exist 280 00:16:29,760 --> 00:16:32,640 and work with big established people 281 00:16:32,720 --> 00:16:34,480 and take help from outside. 282 00:16:34,560 --> 00:16:36,440 And it might have been an easier route 283 00:16:36,520 --> 00:16:39,880 and maybe even a bit, like, more fun or whatever, 284 00:16:39,960 --> 00:16:43,360 but I guess I felt really set in our process, 285 00:16:43,440 --> 00:16:46,000 and really proud of it. It was ours and it had seemed to work, 286 00:16:46,080 --> 00:16:47,600 so-- so we did that. 287 00:16:47,920 --> 00:16:50,280 [upbeat music] 288 00:16:56,560 --> 00:16:58,960 I'm very much the least trained person in the band. 289 00:16:59,040 --> 00:17:01,400 Basically, like, sort of, management had a word with the boys, 290 00:17:01,480 --> 00:17:03,120 and they had to come to me and say, 291 00:17:03,200 --> 00:17:05,920 "Kyle, like, you're not-- basically you're not good enough." 292 00:17:06,320 --> 00:17:08,400 But instead of just being like, "You're gone 293 00:17:08,480 --> 00:17:09,880 and we'll get someone else in." 294 00:17:09,960 --> 00:17:11,080 It's-- it was... 295 00:17:11,800 --> 00:17:14,040 ..."This is what we've been presented with." 296 00:17:14,120 --> 00:17:16,760 If we have it on the end and we get through an entire song 297 00:17:16,840 --> 00:17:19,800 and then at the end it fails, then we have to do the entire song again. 298 00:17:19,880 --> 00:17:22,960 You just need to back yourself, you'll get it right. You got way harder parts than this. 299 00:17:23,040 --> 00:17:24,520 I know sometimes there's just a mental block thing. 300 00:17:24,600 --> 00:17:25,960 And so, like, then I-- 301 00:17:26,040 --> 00:17:28,560 you know, I left the pub and made calls, 302 00:17:28,640 --> 00:17:30,880 and I had to go, you know, go and get lessons. 303 00:17:30,960 --> 00:17:33,200 And it leads into the fact 304 00:17:33,280 --> 00:17:36,520 that Bastille is, like, a supportive place. 305 00:17:38,160 --> 00:17:41,080 And they want me to still be part of this thing that's happening, 306 00:17:41,160 --> 00:17:44,440 so I will prove to them that, "Yes, okay, then I will be good enough." 307 00:17:44,520 --> 00:17:47,160 ["Things We Lost In The Fire" by Bastille playing] 308 00:17:47,240 --> 00:17:49,920 If you want it, then you just-- you just put more work in. 309 00:17:56,320 --> 00:17:58,920 -Whoa! -Vibes, vibes, come on! 310 00:17:59,000 --> 00:18:00,280 You're gonna smash your heads. 311 00:18:00,360 --> 00:18:02,320 I got to the place that I was auditioning, 312 00:18:02,400 --> 00:18:03,680 got introduced to the guys, 313 00:18:03,760 --> 00:18:05,440 and everyone was just really nice, 314 00:18:05,520 --> 00:18:06,880 and I played the songs. 315 00:18:06,960 --> 00:18:08,880 I mean, I was absolutely terrified 316 00:18:08,960 --> 00:18:12,040 because I was like, "This is such a huge opportunity." 317 00:18:13,080 --> 00:18:15,840 They called me up the next week to say, "You've got the job." 318 00:18:16,600 --> 00:18:19,160 [playing guitar] 319 00:18:25,600 --> 00:18:27,880 Going into Wild World , 320 00:18:27,960 --> 00:18:31,040 the world was a different place, there's all sorts of things going on, 321 00:18:31,120 --> 00:18:35,160 went quite-- quite big and global on a lot of the content. 322 00:18:36,680 --> 00:18:38,160 -Hey? -How about that, mate. 323 00:18:38,240 --> 00:18:41,520 The world was going in a very strange direction. 324 00:18:41,600 --> 00:18:44,760 Society felt like it was dividing irreparably. 325 00:18:44,840 --> 00:18:46,520 ["Send Them Off!" By Bastille playing] 326 00:18:46,600 --> 00:18:50,960 ♪ Set me free from my jealousy ♪ 327 00:18:51,040 --> 00:18:56,200 [Dan] I felt like it would be disingenuous to not incorporate that a bit. 328 00:18:56,280 --> 00:19:01,560 ♪ I want to be free as I'll ever be ♪ 329 00:19:01,640 --> 00:19:03,680 All the different single and the little videos 330 00:19:03,760 --> 00:19:06,320 and sort of stuff that we did, were presented by this, like, 331 00:19:06,400 --> 00:19:08,520 this, like, overarching kind of ominous, 332 00:19:08,600 --> 00:19:10,240 kind of conglomerate company. 333 00:19:10,320 --> 00:19:12,480 [TV news jingle] 334 00:19:13,840 --> 00:19:15,840 This, like, fake, evil news anchor behind us 335 00:19:15,920 --> 00:19:18,360 on the big screens kind of ranting at the audience. 336 00:19:18,440 --> 00:19:23,520 ["The Currents" by Bastille playing] 337 00:19:24,920 --> 00:19:26,160 When anybody... 338 00:19:26,240 --> 00:19:28,000 Talking about, like, the rise of sort of... 339 00:19:28,720 --> 00:19:30,880 ...populism and that sort of thing, and, uh, 340 00:19:30,960 --> 00:19:33,840 Trump, which at the time, didn't feel like it was going to happen, or Brexit, 341 00:19:33,920 --> 00:19:37,040 and boy were we surprised at the result of that. 342 00:19:37,120 --> 00:19:39,560 [playing saxophone] 343 00:19:39,640 --> 00:19:41,680 [Dan] That Glastonbury, 2016, 344 00:19:42,280 --> 00:19:44,560 when we found out that Brexit had happened, and I woke up 345 00:19:44,640 --> 00:19:46,120 and we had to play on stage that day, 346 00:19:46,200 --> 00:19:48,040 and that's all that anyone could think about. 347 00:19:50,040 --> 00:19:51,520 [Chris] We sort of realized that 348 00:19:51,960 --> 00:19:54,400 people probably go to gigs to have a break from all that as well. 349 00:19:54,480 --> 00:19:57,600 They don't need to have, like, 24/7 news media just rammed down your throat. 350 00:19:57,680 --> 00:20:00,040 [Dan] Good to be here. Thank you so much for having us today. 351 00:20:00,120 --> 00:20:02,240 [crowd cheering] 352 00:20:02,320 --> 00:20:05,160 On this very, very weird day, we can't think of anywhere better to be, 353 00:20:05,240 --> 00:20:07,360 so thank you so much for coming to check us out. 354 00:20:08,560 --> 00:20:10,920 Right, let's have a fucking awesome weekend. 355 00:20:11,000 --> 00:20:13,160 [Dan] It's like, "Fuck," the people there that weekend 356 00:20:13,240 --> 00:20:15,520 who were kind of in mourning for this big change. 357 00:20:15,600 --> 00:20:17,160 They didn't-- Well, you know. 358 00:20:17,240 --> 00:20:19,360 ♪ I miss you more ♪ 359 00:20:19,440 --> 00:20:22,240 "This is our last weekend to not think about this until it's real." 360 00:20:22,320 --> 00:20:25,200 Almost. You know, festivals are an escape, gigs are an escape. 361 00:20:25,280 --> 00:20:27,400 They're, like, transportative, that's the point. 362 00:20:33,360 --> 00:20:36,240 I just had this sort of epiphany moment. 363 00:20:36,320 --> 00:20:38,800 [violins playing] 364 00:20:44,520 --> 00:20:47,200 I felt like putting production to one side, 365 00:20:47,280 --> 00:20:50,720 and putting all the concepts of everything and stripping it back down to just... 366 00:20:51,600 --> 00:20:53,400 ...just the bare bones of the music. 367 00:20:57,560 --> 00:21:01,480 Well, I was asked by this-- this amazing homeless charity 368 00:21:01,560 --> 00:21:04,720 called Streets of London to do a gig for them to raise money. 369 00:21:05,360 --> 00:21:09,680 They suggested Union Chapel, which is a venue in London in a church that's really beautiful 370 00:21:09,760 --> 00:21:12,600 and that I've been to countless shows at 371 00:21:12,680 --> 00:21:15,440 but had never been able to play, so I was really excited at the opportunity. 372 00:21:15,520 --> 00:21:17,080 I wanted to make it special. 373 00:21:18,520 --> 00:21:20,160 [Kyle] You can't just have a big, 374 00:21:20,240 --> 00:21:22,520 full band smashing around in the Union Chapel. 375 00:21:22,600 --> 00:21:26,840 While we're at it, we can just kind of completely re-frame our own songs. 376 00:21:27,600 --> 00:21:29,600 [Dan] And I spoke to Jonny, and he was up for, 377 00:21:29,680 --> 00:21:31,600 you know, rearranging a lot of the songs. 378 00:21:33,720 --> 00:21:36,160 [Jonny] The whole Bad Blood era, 379 00:21:36,240 --> 00:21:38,080 I guess I was just more in the background, 380 00:21:38,160 --> 00:21:41,480 you know, they were up and coming, and there wasn't the same scope 381 00:21:41,560 --> 00:21:43,640 for, like, adding to the live show. 382 00:21:44,200 --> 00:21:46,320 Um, but it was on the back of that album, 383 00:21:46,400 --> 00:21:48,280 Dan called me up and was just like, 384 00:21:48,360 --> 00:21:49,800 "I've got an idea 385 00:21:49,880 --> 00:21:53,800 for a tune that is, like, is going to need brass, 386 00:21:53,880 --> 00:21:57,480 so why don't you come down and bring some other guys with you." 387 00:21:57,560 --> 00:22:00,440 And we went down to the tiny, little room 388 00:22:00,520 --> 00:22:02,680 in Battersea and recorded "Send Them Off!" 389 00:22:02,760 --> 00:22:05,600 ["Send Them Off!" By Bastille playing] 390 00:22:10,960 --> 00:22:13,920 And, yeah, I guess featuring on that tune 391 00:22:14,000 --> 00:22:16,200 probably just gave Dan the idea 392 00:22:16,280 --> 00:22:19,520 that when him and the band went out on tour again, 393 00:22:19,600 --> 00:22:22,440 it could be an idea to have some extra musicians. 394 00:22:22,520 --> 00:22:26,560 I've been in pop and rock bands and also been in orchestras. 395 00:22:26,640 --> 00:22:29,640 It was something that I really believed could be 396 00:22:29,720 --> 00:22:33,480 an exciting way of presenting songs and arranging songs. 397 00:22:33,560 --> 00:22:37,400 When Bastille came out, turned out my mate, Woody 398 00:22:37,480 --> 00:22:41,200 is the drummer. I was like, "What, that's mental." 399 00:22:41,280 --> 00:22:43,200 And they were just like, "We need someone 400 00:22:43,280 --> 00:22:46,240 who can vocalize and choir-rise 401 00:22:46,320 --> 00:22:49,800 and look at the Bastille music 402 00:22:49,880 --> 00:22:52,320 from a traditional standpoint in this amount of time." 403 00:22:52,400 --> 00:22:55,080 My mate was like, "Mate," and I was like, "Mate." 404 00:22:55,160 --> 00:22:57,840 But then, it was-- it was a challenge but it was fantastic. 405 00:22:57,920 --> 00:23:03,240 I probably made about 20 to 25 scores 406 00:23:03,320 --> 00:23:06,000 in about ten days to two weeks before, 407 00:23:06,080 --> 00:23:07,960 because it was such a late thing. 408 00:23:08,040 --> 00:23:10,040 I love the fact you say rehearsals, 409 00:23:10,120 --> 00:23:12,760 um, because that would mean plural, which means more than one. 410 00:23:12,840 --> 00:23:15,560 Uh, in this instance, we had one rehearsal. 411 00:23:15,640 --> 00:23:17,200 You're going to change, you're going to change. 412 00:23:17,280 --> 00:23:18,840 Let's just try and we'll get there. 413 00:23:18,920 --> 00:23:20,480 I'm burning quite bad. 414 00:23:20,560 --> 00:23:23,000 I'm not playing. What are you guys playing at that beat? 415 00:23:25,200 --> 00:23:27,520 Four. They all look like me. 416 00:23:27,600 --> 00:23:29,360 [crowd murmuring] 417 00:23:32,320 --> 00:23:34,720 [choir singing] 418 00:23:40,720 --> 00:23:43,320 Obviously, I think we knew deep down we could do a good job, 419 00:23:43,400 --> 00:23:45,520 but because the rehearsal and everything was done 420 00:23:45,600 --> 00:23:47,080 such by the sort of seat of our pants, 421 00:23:47,160 --> 00:23:49,160 there were times where it could have gone wrong. 422 00:23:50,080 --> 00:23:52,920 Come on, mate. It's awesome, this is awesome. 423 00:23:54,040 --> 00:23:55,160 I'm terrified as well. 424 00:24:03,680 --> 00:24:06,400 [crowd cheering] 425 00:24:22,520 --> 00:24:23,400 Hello. 426 00:24:23,480 --> 00:24:25,160 [crowd cheering] 427 00:24:28,520 --> 00:24:30,280 We are Bastille and friends, and it's such a pleasure 428 00:24:30,360 --> 00:24:31,720 to be here for Streets of London, 429 00:24:31,800 --> 00:24:34,400 so thank you so much for everybody for coming. 430 00:24:34,480 --> 00:24:36,680 [crowd cheering] 431 00:24:38,320 --> 00:24:40,520 I'm terrified so I'm not going to talk very much. 432 00:24:42,880 --> 00:24:44,000 [woman] Love you, Kyle! 433 00:24:50,520 --> 00:24:54,600 [vocalizing] 434 00:25:05,480 --> 00:25:12,160 ♪ I was left to my own devices ♪ 435 00:25:12,800 --> 00:25:19,640 ♪ Many days fell away with nothing to show ♪ 436 00:25:20,160 --> 00:25:22,800 ♪ And the walls kept tumbling down ♪ 437 00:25:22,880 --> 00:25:27,160 ♪ In the city that we love ♪ 438 00:25:27,560 --> 00:25:30,480 ♪ Grey clouds roll over the hills ♪ 439 00:25:30,560 --> 00:25:35,320 ♪ Bringing darkness from above ♪ 440 00:25:35,800 --> 00:25:38,600 ♪ But if you close your eyes ♪ 441 00:25:38,680 --> 00:25:43,480 ♪ Does it almost feel like nothing changed at all? ♪ 442 00:25:43,560 --> 00:25:46,080 ♪ And if you close your eyes ♪ 443 00:25:46,160 --> 00:25:52,000 ♪ Does it almost feel like you've been here before? ♪ 444 00:25:52,080 --> 00:25:55,960 ♪ How am I going to be an optimist about this? ♪ 445 00:25:56,040 --> 00:25:59,720 ♪ How am I going to be an optimist about this? ♪ 446 00:25:59,800 --> 00:26:06,800 ♪ We were caught up and lost in all of our vices ♪ 447 00:26:07,520 --> 00:26:14,000 ♪ In your pose as the dust settled around us ♪ 448 00:26:14,640 --> 00:26:17,360 ♪ And the walls kept tumbling down ♪ 449 00:26:17,440 --> 00:26:22,000 ♪ In the city that we love ♪ 450 00:26:22,080 --> 00:26:24,880 ♪ Grey clouds roll over the hills ♪ 451 00:26:24,960 --> 00:26:29,360 ♪ Bringing darkness from above ♪ 452 00:26:30,440 --> 00:26:33,120 ♪ But if you close your eyes ♪ 453 00:26:33,200 --> 00:26:38,000 ♪ Does it almost feel like nothing changed at all? ♪ 454 00:26:38,080 --> 00:26:40,640 ♪ And if you close your eyes ♪ 455 00:26:40,720 --> 00:26:46,080 ♪ Does it almost feel like you've been here before? ♪ 456 00:26:46,160 --> 00:26:48,800 [Dan] It was rough as fuck and probably filled with mistakes, 457 00:26:48,880 --> 00:26:49,960 but we pulled it off, 458 00:26:50,040 --> 00:26:51,520 and it just felt really special. 459 00:26:52,160 --> 00:26:56,160 [Senab] There was something very intimate and very sensitive 460 00:26:56,240 --> 00:26:58,840 about the approach to Bastille's music 461 00:26:58,920 --> 00:27:02,440 in comparison to the guns blazing that people are used to. 462 00:27:02,520 --> 00:27:05,280 ♪ Oh, where do we begin? ♪ 463 00:27:05,360 --> 00:27:08,680 ♪ The rubble or our sins? ♪ 464 00:27:08,760 --> 00:27:13,760 To very specifically remix every song 465 00:27:13,840 --> 00:27:16,600 in a live context is a bravery 466 00:27:16,680 --> 00:27:20,840 that I can say a lot of artists wouldn't do in any way, shape or form. 467 00:27:20,920 --> 00:27:24,400 [Dan] To start with "Pompeii," to completely strip it away, 468 00:27:24,480 --> 00:27:26,760 and make it just a cappella with some singers. 469 00:27:27,320 --> 00:27:30,280 And to take away the chanting and the hook that people know, 470 00:27:30,360 --> 00:27:32,600 everything was about it was undermining expectations. 471 00:27:32,680 --> 00:27:35,040 ♪ But if you close your eyes ♪ 472 00:27:35,120 --> 00:27:37,160 [crowd cheering] 473 00:27:39,400 --> 00:27:41,840 Coming out with our second album and playing arenas, 474 00:27:41,920 --> 00:27:45,280 we're set about to make a third album that was all about escapism, 475 00:27:45,360 --> 00:27:49,160 but I'd been thinking about that gig we did, that charity, 476 00:27:49,240 --> 00:27:51,240 and how amazing it had been, and I just came up 477 00:27:51,320 --> 00:27:53,880 with this idea of trying to do it again, 478 00:27:53,960 --> 00:27:56,240 and it just got in my head. 479 00:27:56,960 --> 00:28:02,800 It felt kind of like-- like a great idea not fully realized. 480 00:28:02,880 --> 00:28:05,920 Looking back, I-- if that was the only thing we'd ever done, 481 00:28:06,000 --> 00:28:08,720 I'd thought, "Oh, that doesn't represent who I am 482 00:28:08,800 --> 00:28:12,040 and it certainly doesn't represent what these players can do." 483 00:28:12,120 --> 00:28:15,600 I would have been happy with it happening that once. 484 00:28:16,240 --> 00:28:17,520 [Dan] I wanted to do something... 485 00:28:18,520 --> 00:28:20,760 ...that felt different and felt real, 486 00:28:20,840 --> 00:28:23,200 and pretty much everyone 487 00:28:23,680 --> 00:28:26,840 across the board was like, "Why the fuck would you do that? 488 00:28:26,920 --> 00:28:29,080 You have a third album to be making, 489 00:28:29,160 --> 00:28:30,520 that's kind of more important." 490 00:28:30,600 --> 00:28:32,360 And that album has to be delivered, 491 00:28:32,440 --> 00:28:34,600 I don't know, like eight weeks after Christmas. 492 00:28:34,680 --> 00:28:37,400 [Dan] I'm just quite up for working as quickly as possible. 493 00:28:37,480 --> 00:28:41,520 Just trying to get as much stuff to an exciting playable point. 494 00:28:41,600 --> 00:28:44,120 Get together an entire gig's worth, 495 00:28:44,200 --> 00:28:46,840 like tour's worth of touring on the orchestral thing. 496 00:28:46,920 --> 00:28:50,280 That's going to be a fuck load to-- to learn right-- 497 00:28:50,360 --> 00:28:53,400 like, right at the top of the year before we go into the campaign, 498 00:28:53,480 --> 00:28:55,560 because we have to learn the orchestral stuff for all these people. 499 00:28:55,640 --> 00:28:59,280 -We have to work closely with Jonny on that. -And also learn 500 00:28:59,360 --> 00:29:01,640 how we're going to be playing all of this stuff as well. 501 00:29:01,720 --> 00:29:04,880 We'll just plan it out, and then I think, you know, the point of doing the tour 502 00:29:04,960 --> 00:29:07,600 leading up to Albert Hall, obviously we want it to be good, 503 00:29:07,680 --> 00:29:10,440 but it's that it gets, the show gets tighter and tighter. 504 00:29:11,360 --> 00:29:12,640 -I just-- -[Kyle] We know the songs. 505 00:29:12,720 --> 00:29:13,960 I know what he's saying, 506 00:29:14,040 --> 00:29:15,560 I want us to be, like, fucking nailed 507 00:29:15,640 --> 00:29:17,920 and good to go by the time we start touring proper. 508 00:29:18,000 --> 00:29:22,320 Touring is expensive, and injecting an extra like 509 00:29:22,400 --> 00:29:25,840 15 musicians into that scenario means more buses, 510 00:29:25,920 --> 00:29:28,280 more hotel rooms, like, more crew. 511 00:29:29,040 --> 00:29:32,200 There was never any idea that anything would come of it commercially. 512 00:29:32,880 --> 00:29:34,520 Like, I don't know, them sort of saying, 513 00:29:34,600 --> 00:29:37,040 "This isn't going to make you any money." It's like, 514 00:29:37,120 --> 00:29:40,040 "Well, okay, well, then I'll stop being in a band 515 00:29:40,120 --> 00:29:42,720 and become a fucking stockbroker," like, what's the-- 516 00:29:42,800 --> 00:29:45,080 I mean, he couldn't be a stockbroker, he shouldn't do that. 517 00:29:45,160 --> 00:29:47,360 I sort of do think you're doing it at the wrong stage 518 00:29:47,440 --> 00:29:48,640 of your career. You're really hot, 519 00:29:48,720 --> 00:29:50,440 and when we're still climbing, 520 00:29:50,520 --> 00:29:52,960 which I think Dan sometimes has a problem 521 00:29:53,040 --> 00:29:54,920 of actually enjoying it 522 00:29:55,000 --> 00:29:56,920 and therefore wants to do other things. 523 00:29:57,000 --> 00:29:58,640 So, like the orchestra, 524 00:29:58,720 --> 00:30:01,240 because it'd be just too easy to have loads of hits 525 00:30:01,320 --> 00:30:04,200 and hits and hits and make my life easier and everyone else's, wouldn't it? 526 00:30:04,280 --> 00:30:05,600 As a concept I love it. 527 00:30:06,080 --> 00:30:09,400 It was so much fucking work... for everyone. 528 00:30:10,920 --> 00:30:13,680 [Dan] I feel like anything worth doing in the creative world 529 00:30:13,760 --> 00:30:16,800 has always got to have a bit of, you know, stress involved, 530 00:30:17,400 --> 00:30:20,240 um, a bit of jeopardy, blood, sweat and tears, 531 00:30:20,320 --> 00:30:22,200 all the usual cliches. 532 00:30:22,280 --> 00:30:25,280 If you drastically change what you've done, 533 00:30:25,360 --> 00:30:27,520 you can definitely get it a lot more wrong, 534 00:30:27,600 --> 00:30:29,800 but the rewards can be a lot bigger, 535 00:30:29,880 --> 00:30:33,000 and I think that's probably what-- what drives Dan. 536 00:30:33,080 --> 00:30:35,920 This project is-- is one that no one asked for, 537 00:30:36,000 --> 00:30:39,600 but then again, no one fucking asked for our band to exist, so fuck you. 538 00:30:39,680 --> 00:30:42,920 [trumpets playing] 539 00:30:44,760 --> 00:30:49,120 [Dan] Any idea that, like, music with strings or orchestration or classical stuff 540 00:30:49,200 --> 00:30:51,400 couldn't be modern and couldn't be relevant, 541 00:30:51,480 --> 00:30:55,080 I just thought was bullshit. I think we now-- like, one of the nice things 542 00:30:55,160 --> 00:30:57,560 about the age we live in at the moment is the fact that 543 00:30:57,640 --> 00:30:59,920 like, genre feels, like, irrelevant. 544 00:31:00,000 --> 00:31:03,240 Welcome, everybody. Thanks for coming in on Sunday 545 00:31:03,320 --> 00:31:05,240 and joining us on this adventure, 546 00:31:05,320 --> 00:31:08,000 but we need to be on it today. We don't have a lot of time. 547 00:31:08,080 --> 00:31:11,960 We've got to try and have Dan do as little talking as he can 548 00:31:12,040 --> 00:31:13,280 because he's got to save himself. 549 00:31:13,360 --> 00:31:14,880 If he wants, he'll talk a lot, 550 00:31:14,960 --> 00:31:16,920 because he's so passionate about this, 551 00:31:17,000 --> 00:31:19,520 but-- but thank you very much. Crack on. 552 00:31:19,600 --> 00:31:21,840 -[all applauding] -Okay. 553 00:31:22,800 --> 00:31:24,200 You fucking tell them, mate. 554 00:31:25,480 --> 00:31:27,400 Bringing people into our-- our world 555 00:31:27,480 --> 00:31:29,160 and making it more about them than us 556 00:31:29,240 --> 00:31:30,760 and letting the songs be the songs, 557 00:31:30,840 --> 00:31:33,960 and I step away and be the least impressive things on stage, 558 00:31:34,040 --> 00:31:35,320 that was what it was about. 559 00:31:35,400 --> 00:31:37,600 [singing] 560 00:31:37,680 --> 00:31:39,880 [playing guitar] 561 00:31:46,760 --> 00:31:50,520 Somewhere at home, like, I've got these pad of notes for each song, 562 00:31:50,600 --> 00:31:52,240 like, "Play this trigger here. 563 00:31:52,320 --> 00:31:54,440 This sample there, stop playing here..." 564 00:31:54,520 --> 00:31:56,200 Just trying to unlearn muscle memory 565 00:31:56,280 --> 00:31:58,240 really quickly from songs that we'd spent the last 566 00:31:58,320 --> 00:32:00,080 three or four years touring almost nonstop. 567 00:32:00,160 --> 00:32:01,560 Eventually it goes... 568 00:32:01,640 --> 00:32:04,760 I don't want the drum part to sound too perky. 569 00:32:04,840 --> 00:32:06,280 Like, so I want it to drive... 570 00:32:06,360 --> 00:32:07,840 Yeah, a lot of notes being made, 571 00:32:07,920 --> 00:32:09,600 scribbled down and things being changed on the fly. 572 00:32:09,680 --> 00:32:11,520 -All right, so in the chorus? -Yeah. 573 00:32:11,600 --> 00:32:13,080 You still do the tom thing, 574 00:32:13,160 --> 00:32:14,560 I'm gonna stick with the beat underneath it. 575 00:32:14,640 --> 00:32:16,400 Okay, sure thing. 576 00:32:16,960 --> 00:32:17,880 Yeah. 577 00:32:19,040 --> 00:32:21,520 [playing xylophone] 578 00:32:24,080 --> 00:32:26,400 [Will] There is one where I have to play, um, I play piano. 579 00:32:26,480 --> 00:32:29,480 It's very much my third instrument, and yeah, I remember that was kind of exciting. 580 00:32:29,560 --> 00:32:32,240 I was like, "Which buttons do I push now?" 581 00:32:32,320 --> 00:32:35,680 ["Weight of Living Part 1" by Bastille playing] 582 00:32:41,160 --> 00:32:43,200 [Kyle] I get to rehearsals early and I leave rehearsals late, 583 00:32:43,280 --> 00:32:46,200 just 'cause I need the extra time more than the boys. 584 00:32:46,280 --> 00:32:47,760 And that kind of lives inside you 585 00:32:47,840 --> 00:32:50,320 around these people who are just-- who are just like, 586 00:32:50,400 --> 00:32:51,840 "Oh, what's that song? Bosh, I've got it." 587 00:32:51,920 --> 00:32:53,720 I'm just like, "What the fuck?" 588 00:32:53,800 --> 00:32:55,880 Okay. And it might take me longer. 589 00:32:55,960 --> 00:32:58,400 ["Quarter Past Midnight" by Bastille playing] 590 00:33:02,120 --> 00:33:05,000 -Are they doing the off-beat, "Yeah, yeah, yeah"? -Yeah. 591 00:33:05,080 --> 00:33:07,960 -Then we're gonna do it with the rest. -Okay, cool, sweet. Um, yeah-- 592 00:33:08,040 --> 00:33:09,920 That was different to what's on the album. 593 00:33:10,000 --> 00:33:11,800 [Kyle] We weren't available for loads of time to do it. 594 00:33:11,880 --> 00:33:13,480 We had to fit these rehearsals in. 595 00:33:13,560 --> 00:33:15,640 In the recording there's a... [singing] 596 00:33:15,720 --> 00:33:17,560 [Kyle] In amongst them, and like, just like, 597 00:33:17,640 --> 00:33:20,000 "Okay, just have a couple days rehearsal before you go off on tour." 598 00:33:20,080 --> 00:33:24,080 Is anybody doing a part that resembles... [mimics instrument] 599 00:33:24,160 --> 00:33:28,240 And it just wasn't enough time for me just to feel-- to feel comfortable. 600 00:33:28,320 --> 00:33:32,680 The set's really different now. And also there hasn't really been a lot going from in it, 601 00:33:32,760 --> 00:33:36,560 -so you might be right. -I've got a lot of parts, so that's the last change we make. 602 00:33:36,640 --> 00:33:37,680 -Yeah? -[Dan] In that song? 603 00:33:37,760 --> 00:33:38,600 Yeah. 604 00:33:39,640 --> 00:33:42,480 -Changed the whole fucking thing. -I did not change everything. 605 00:33:42,560 --> 00:33:46,040 [Charlie] Well, I'm a bit of a nerd and I love rehearsing, 606 00:33:46,120 --> 00:33:48,760 it's one of my favorite bits about being in a band. 607 00:33:48,840 --> 00:33:52,840 The ReOrchestrated project is by far my favorite thing 608 00:33:52,920 --> 00:33:56,480 I've ever done musically at all, not even just with Bastille, 609 00:33:56,560 --> 00:33:58,200 just full stop, it's my favorite thing. 610 00:33:58,760 --> 00:34:00,720 ["Oblivion" by Bastille playing] 611 00:34:03,760 --> 00:34:08,560 ♪ You always take it farther ♪ 612 00:34:09,640 --> 00:34:13,960 ♪ Than I ever can ♪ 613 00:34:48,680 --> 00:34:51,120 [organ playing] 614 00:34:54,800 --> 00:34:56,720 [choir singing] 615 00:35:30,520 --> 00:35:32,000 As a young teenager, 616 00:35:32,440 --> 00:35:35,280 I got like-- I was quite big. 617 00:35:35,360 --> 00:35:38,560 Growing up, you know, like, kids are mean, 618 00:35:38,640 --> 00:35:42,080 life is-- life is pretty mean, and that was like part of my identity. 619 00:35:42,160 --> 00:35:43,920 I've always been really physically self-conscious, 620 00:35:44,000 --> 00:35:49,440 so it is fucking weird to have pursued this thing. 621 00:35:49,520 --> 00:35:51,480 But I think that's part of the tension of this. 622 00:35:51,560 --> 00:35:54,480 I fucking love being able to make music and create stuff. 623 00:35:55,840 --> 00:35:58,000 I played the violin and the piano when I was a kid, 624 00:35:58,080 --> 00:36:01,480 and, you know, I used to sing in a choir, but I gave it all up... 625 00:36:02,480 --> 00:36:05,280 ...to get into university in order to give the illusion 626 00:36:05,360 --> 00:36:06,680 that I had a more rounded life. 627 00:36:06,760 --> 00:36:09,360 I tried to rejoin the orchestra at my school 628 00:36:09,920 --> 00:36:12,600 but I hadn't played the violin in a long time and I was very bad and didn't practice, 629 00:36:12,680 --> 00:36:14,760 so I was basically 630 00:36:14,840 --> 00:36:18,600 the only 17-year-old in the orchestra 631 00:36:18,680 --> 00:36:22,280 in the thirds violin section, which is like the easiest section. 632 00:36:22,360 --> 00:36:24,680 It was all, like, ten-year-olds. 633 00:36:24,760 --> 00:36:28,360 Then there was this one concert where the dress rehearsal was in the day. 634 00:36:28,440 --> 00:36:30,520 I remember getting up to chat to someone, 635 00:36:30,600 --> 00:36:32,800 and I put the violin down on the chair next to me, 636 00:36:32,880 --> 00:36:36,360 and little did I know... that the kid next to me, whose chair it was, 637 00:36:36,440 --> 00:36:38,840 had comeback and moved the violin back on to my chair. 638 00:36:38,920 --> 00:36:41,160 So I finished the conversation, went to sit down 639 00:36:41,240 --> 00:36:44,360 and just heard this almighty crunch, ping. 640 00:36:45,520 --> 00:36:47,760 It's the sound that doesn't leave you in a hurry, 641 00:36:47,840 --> 00:36:51,760 of physically crushing your own violin with your ass. 642 00:36:51,840 --> 00:36:53,680 There were no spare violins in the school, 643 00:36:53,760 --> 00:36:56,720 apart from one quarter sized child's violin. 644 00:36:56,800 --> 00:36:59,320 So as the big kid already, having to then play, 645 00:36:59,400 --> 00:37:02,280 like, a little mini violin that I already couldn't play... 646 00:37:02,720 --> 00:37:06,680 Um, yeah, that pretty much sums up, like, my teenage years. 647 00:37:08,200 --> 00:37:12,120 Maybe this whole ReOrchestrated thing is-- is-- my, uh-- my personal revenge. 648 00:37:12,200 --> 00:37:15,040 ["Icarus" by Bastille playing] 649 00:37:24,080 --> 00:37:26,760 ♪ All of your flaws and all of my flaws ♪ 650 00:37:26,840 --> 00:37:29,280 ♪ They lie there hand in hand ♪ 651 00:37:30,520 --> 00:37:33,160 ♪ Ones we've inherited ones that we learned ♪ 652 00:37:33,240 --> 00:37:35,840 ♪ They pass from man to man ♪ 653 00:37:35,920 --> 00:37:38,640 ♪ There's a hole in my soul ♪ 654 00:37:39,120 --> 00:37:42,320 ♪ I can't fill it I can't fill it ♪ 655 00:37:42,400 --> 00:37:43,680 ♪ There's a hole... ♪ 656 00:37:43,760 --> 00:37:45,760 Maybe there is something, like, really audacious 657 00:37:45,840 --> 00:37:48,520 and cheeky about thinking that us 658 00:37:48,600 --> 00:37:51,480 as some, like, band could wander into a room 659 00:37:51,560 --> 00:37:53,960 as amazing and beautiful as Royal Albert Hall 660 00:37:54,040 --> 00:37:57,280 and get on that stage that has so much heritage and history. 661 00:37:57,360 --> 00:37:59,080 ♪ ...your flaws and all of my flaws ♪ 662 00:37:59,160 --> 00:38:00,600 [Kyle] It was really, really weird 663 00:38:00,680 --> 00:38:02,560 kind of just doing the soundcheck, 664 00:38:02,640 --> 00:38:06,880 having to look around and just thinking, "What am I doing here?" 665 00:38:06,960 --> 00:38:09,000 ♪ ...from man to man ♪ 666 00:38:09,080 --> 00:38:12,520 ♪ There's a hole in my soul ♪ 667 00:38:12,600 --> 00:38:15,920 ♪ I can't fill it I can't fill it ♪ 668 00:38:16,000 --> 00:38:20,440 ♪ And there's a hole in my soul can you fill it? ♪ 669 00:38:20,520 --> 00:38:23,600 [Will] It's kind of, it's weird, sometimes venues are more impressive when they're empty, 670 00:38:23,680 --> 00:38:25,480 and I just remember that being the point, 671 00:38:25,560 --> 00:38:27,560 I was just looking up sort of starry-eyed 672 00:38:27,640 --> 00:38:29,720 at this beautiful venue. 673 00:38:30,560 --> 00:38:36,600 ♪ And I have always buried them deep beneath the ground ♪ 674 00:38:36,680 --> 00:38:38,840 -♪ Dig them up ♪ -♪ Up ♪ 675 00:38:38,920 --> 00:38:42,240 ♪ Let's finish what we've started ♪ 676 00:38:43,600 --> 00:38:45,720 -♪ Dig them up ♪ -♪ Up ♪ 677 00:38:45,800 --> 00:38:49,440 ♪ So nothing's left untouched ♪ 678 00:38:51,480 --> 00:38:54,520 ♪ All of your flaws and all of my flaws ♪ 679 00:38:54,600 --> 00:38:57,360 ♪ When they have been exhumed ♪ 680 00:38:58,040 --> 00:39:01,560 ♪ We'll see that we need them to be who we are ♪ 681 00:39:01,640 --> 00:39:04,240 ♪ Without them we'd be doomed ♪ 682 00:39:04,320 --> 00:39:07,880 ♪ There's a hole in my soul ♪ 683 00:39:07,960 --> 00:39:11,120 ♪ I can't fill it I can't fill it ♪ 684 00:39:11,200 --> 00:39:14,840 ♪ And there's a hole in my soul ♪ 685 00:39:14,920 --> 00:39:19,560 ♪ Can you fill it? Can you fill it? ♪ 686 00:39:20,760 --> 00:39:26,680 ♪ You have always worn your flaws upon your sleeve ♪ 687 00:39:27,600 --> 00:39:33,760 ♪ And I have always buried them deep beneath the ground ♪ 688 00:39:33,840 --> 00:39:35,320 ♪ Dig them up ♪ 689 00:39:36,120 --> 00:39:39,520 ♪ Let's finish what we've started ♪ 690 00:39:40,560 --> 00:39:41,840 ♪ Dig them up ♪ 691 00:39:42,880 --> 00:39:46,320 ♪ So nothing's left untouched ♪ 692 00:39:48,520 --> 00:39:54,560 ♪ Ooh ♪ 693 00:39:56,240 --> 00:40:01,600 ♪ Ooh ♪ 694 00:40:01,680 --> 00:40:03,720 ♪ Ooh ♪ 695 00:40:03,800 --> 00:40:10,160 ♪ When all of your flaws and all of my flaws are counted ♪ 696 00:40:11,600 --> 00:40:13,360 ♪ When all of your flaws ♪ 697 00:40:13,440 --> 00:40:19,120 ♪ And all of my flaws are counted ♪ 698 00:40:24,920 --> 00:40:26,880 -Do you want to give a speech? -No speeches. 699 00:40:26,960 --> 00:40:28,040 -Fuck yeah, lads. -Cheers! 700 00:40:28,120 --> 00:40:30,600 Well done, well fucking done! 701 00:40:32,280 --> 00:40:35,040 ♪ In your eyes ♪ 702 00:40:35,120 --> 00:40:38,080 ♪ In your... Albatross ♪ 703 00:40:38,160 --> 00:40:40,080 ♪ Let it go ♪ 704 00:40:40,160 --> 00:40:43,280 ♪ Let it go, your... ♪ 705 00:40:43,360 --> 00:40:44,600 So happy. 706 00:40:45,080 --> 00:40:47,720 It's like my face is just permanently in this position. 707 00:40:47,800 --> 00:40:49,560 ♪ ...shoot it down ♪ 708 00:40:49,640 --> 00:40:53,480 ♪ When you just can't shake the heavy weight... ♪ 709 00:40:53,560 --> 00:40:56,480 It was just gorgeous. It kind of wraps all the way around. 710 00:40:56,560 --> 00:40:59,120 -"We love you, Dan!" -"We love you, Dan!" 711 00:40:59,200 --> 00:41:01,480 [laughter] 712 00:41:03,800 --> 00:41:07,400 ♪ The weight of living ♪ 713 00:41:07,480 --> 00:41:11,200 ♪ The weight of living ♪ 714 00:41:11,280 --> 00:41:15,920 ♪ The weight of living ♪ 715 00:41:16,000 --> 00:41:22,440 ♪ Oh! ♪ 716 00:41:22,520 --> 00:41:25,440 [crowd cheering] 717 00:41:26,160 --> 00:41:29,680 ♪ Ooh! ♪ 718 00:41:29,760 --> 00:41:32,560 ♪ Ooh! ♪ 719 00:41:33,600 --> 00:41:36,600 ♪ La, la, la, la, ooh ♪ 720 00:41:36,680 --> 00:41:39,760 You know that was-- the Royal Albert Hall was one of the most memorable nights 721 00:41:39,840 --> 00:41:43,560 we've had with the band, so, yeah, it's... [stutters] 722 00:41:43,640 --> 00:41:46,040 I'm glad they went through the pain to get it all done. 723 00:41:46,120 --> 00:41:48,800 ♪ Ooh ♪ 724 00:41:49,280 --> 00:41:51,760 Was just really affected by how amazing it was 725 00:41:51,840 --> 00:41:55,320 to stand on stage with some incredible gospel singers and those musicians. 726 00:41:55,400 --> 00:41:59,600 And so, the process of ReOrchestrated ended up bleeding into Doom Days . 727 00:42:00,600 --> 00:42:02,560 Well, the thing that was interesting with that is 728 00:42:02,640 --> 00:42:05,760 it's kind of an experiment in relinquishing control, 729 00:42:05,840 --> 00:42:09,000 which I think was harder for certain members of the band than others. 730 00:42:10,560 --> 00:42:12,600 Maybe it's just something in me, but everything always feels like 731 00:42:12,680 --> 00:42:14,200 a bit of an uphill struggle with us. 732 00:42:15,720 --> 00:42:19,080 As important as that stuff is to me and I love it and I want it to be great, 733 00:42:19,640 --> 00:42:22,960 like, it is what it is, and you shouldn't... 734 00:42:23,800 --> 00:42:26,840 ...fucking destroy yourself in the process of making it, 735 00:42:26,920 --> 00:42:29,800 like, you know, Mark, our producer always says, like, 736 00:42:29,880 --> 00:42:33,480 with a song, no matter who you did it with or how you did it, you want to be able to, 737 00:42:33,560 --> 00:42:37,920 if you're going to sing it every night, look back on it and have a nice association. 738 00:42:38,600 --> 00:42:41,760 And so, yeah, I've started, like, now collaborating way more. 739 00:42:42,320 --> 00:42:45,280 It just takes the pressure off, it's a shared responsibility. 740 00:42:45,360 --> 00:42:48,360 And that was way more fun for us, 741 00:42:48,440 --> 00:42:51,400 and, I think, a way better process with better results. 742 00:42:51,480 --> 00:42:53,920 ["Divide" by Bastille playing] 743 00:42:55,480 --> 00:43:00,680 ♪ ...summer nights destroy everything... ♪ 744 00:43:00,760 --> 00:43:02,520 [Will] That was actually a really nice time because it was 745 00:43:02,600 --> 00:43:04,400 a bit of a break from touring, 746 00:43:04,480 --> 00:43:06,000 and it was the first time we'd sort of sat down 747 00:43:06,080 --> 00:43:07,760 and we'd written all the songs at the same time. 748 00:43:07,840 --> 00:43:09,480 [Dan] And Senab and loads of the singers ended up 749 00:43:09,560 --> 00:43:10,840 singing across the tracks. 750 00:43:12,200 --> 00:43:14,520 [singing] 751 00:43:14,600 --> 00:43:18,360 It's very delicious to work with an artist 752 00:43:18,440 --> 00:43:22,680 who is willing to give you room to be creative 753 00:43:22,760 --> 00:43:24,720 and to be trusting. 754 00:43:24,800 --> 00:43:27,680 It was all just a kind of, like a bit of a mixing pot 755 00:43:27,760 --> 00:43:31,080 of all the people that we'd kind of been hanging out with for the last year or so. 756 00:43:31,760 --> 00:43:36,000 ["Million Pieces" by Bastille playing] 757 00:43:36,080 --> 00:43:38,960 [Dan] We have all these different arms to what we do, but as time goes on, 758 00:43:39,040 --> 00:43:43,080 they all kind of bleed into each other and they spill in and out of their lanes, 759 00:43:43,160 --> 00:43:45,560 and that's nice to have those intermesh. 760 00:43:45,640 --> 00:43:47,360 [playing piano] 761 00:43:47,440 --> 00:43:50,680 [violins playing] 762 00:43:52,400 --> 00:43:56,400 I'm just so... indescribably proud of 763 00:43:56,480 --> 00:43:59,440 and in awe of Jonny and what he pulled off. 764 00:43:59,520 --> 00:44:02,680 [Jonny] Here's my chart, there are 25 songs here. 765 00:44:02,760 --> 00:44:06,960 What I've done is I've just broken it down into the different instruments. 766 00:44:07,040 --> 00:44:09,680 And, um, it's just the case of trying to cover 767 00:44:10,240 --> 00:44:11,960 all of the instruments in all of the tunes. 768 00:44:12,520 --> 00:44:14,920 [Dan] It's nuts when you sort of look to someone that you know really well 769 00:44:15,000 --> 00:44:16,920 and have lived on a tour bus with 770 00:44:17,000 --> 00:44:19,520 and you know on a real, like, interpersonal level, 771 00:44:19,600 --> 00:44:22,520 and then to have these moments of like realization that you're like, 772 00:44:22,600 --> 00:44:25,240 "Fuck me, you're a genius, you're, like, actually a genius." 773 00:44:25,320 --> 00:44:28,200 [music playing on computer] 774 00:44:32,280 --> 00:44:37,520 So yeah, you're just getting the full range of midi treatment. Here's the brass. 775 00:44:43,440 --> 00:44:45,360 Wonderful. Just got to... 776 00:44:46,040 --> 00:44:49,080 ...trust that it's going to be okay once-- once people are 777 00:44:49,160 --> 00:44:50,680 playing it on real instruments. 778 00:44:52,480 --> 00:44:54,240 [Chris] The opportunity came about through Channel Aid, 779 00:44:54,320 --> 00:44:57,360 they said, "Do you want to play with a full full orchestra?" 780 00:44:57,440 --> 00:45:00,760 We're like, "Okay, this would be a mad step up." And like, why not? 781 00:45:02,800 --> 00:45:05,880 Hamburg... I mean, yeah, they kept just-- 782 00:45:05,960 --> 00:45:08,240 they kept just getting a bit bigger and bigger every time. 783 00:45:09,560 --> 00:45:13,360 -[Dan] Where are we, Jonny? -We're in the Elbphilharmonie in Hamburg. 784 00:45:13,440 --> 00:45:15,440 -How's it going? -It's going great. 785 00:45:16,400 --> 00:45:19,440 -What's the gig about? -This gig is about ReOrchestrated, 786 00:45:19,520 --> 00:45:23,680 but just bigger and more adventurous than last time. 787 00:45:24,160 --> 00:45:27,840 [Dan] This is a 53 piece orchestra, a 12 piece gospel choir, 788 00:45:27,920 --> 00:45:30,320 the five of us in the band and, you know, any extra help, 789 00:45:30,400 --> 00:45:32,120 and there's 70 plus people on stage. 790 00:45:32,200 --> 00:45:33,920 -Yeah. -Yeah, so that's-- 791 00:45:34,000 --> 00:45:36,000 That, and it turns out that that is enough. 792 00:45:36,080 --> 00:45:37,240 Yeah, yeah. 793 00:45:37,320 --> 00:45:40,240 ["Those Nights" by Bastille playing] 794 00:45:44,360 --> 00:45:48,560 We are performing Bastille ReOrchestrated today 795 00:45:48,640 --> 00:45:52,200 with Bastille and my orchestra, Baltic Sea Philharmonic, 796 00:45:52,280 --> 00:45:57,200 and I'm very happy to start the '20s with a bang. 797 00:45:57,720 --> 00:46:00,320 There's rather a lot of people at band practice today. 798 00:46:00,400 --> 00:46:03,280 [orchestra playing] 799 00:46:05,840 --> 00:46:11,840 [chuckles] This is the biggest ReOrchestrated show in the round in a different country, 800 00:46:12,400 --> 00:46:13,680 streamed live. 801 00:46:16,040 --> 00:46:17,400 Uh. [huffs] 802 00:46:20,840 --> 00:46:22,200 And we went and did a rehearsal with them. 803 00:46:22,280 --> 00:46:24,840 And that was the day before, and that was it. 804 00:46:24,920 --> 00:46:27,000 [instruments warm up] 805 00:46:27,880 --> 00:46:30,000 It was loosey-goosey at the start, there's bits where 806 00:46:30,080 --> 00:46:32,640 I had to go and say, "This thing is not clicking." 807 00:46:33,840 --> 00:46:36,520 [Will] It's just a different world, so, for instance, 808 00:46:36,600 --> 00:46:40,160 you know, we all play with a metronome, with a click in our in-ear monitors, 809 00:46:40,240 --> 00:46:42,240 and classical musicians play by sight. 810 00:46:42,320 --> 00:46:44,440 We'd be playing along just not even looking at them, 811 00:46:44,520 --> 00:46:46,680 and they're like, "Do you want to make some eye contact?" 812 00:46:46,760 --> 00:46:48,880 Because that's just the world they move in. 813 00:46:49,360 --> 00:46:52,640 We can say to someone, "Drop eight bars after that chorus, blah, blah." 814 00:46:52,720 --> 00:46:55,240 They would know, whereas the classically trained lot would be like, 815 00:46:55,320 --> 00:46:59,960 "Oh, is that after J, like, bar 54?" They need to know the specifics of it. 816 00:47:00,040 --> 00:47:02,400 [violins scaling] 817 00:47:03,280 --> 00:47:06,480 We're fortunate that Jonny and Senab, in particular, they speak both, 818 00:47:06,560 --> 00:47:08,560 so they can kind of, like, almost translate for the others 819 00:47:08,640 --> 00:47:11,280 if we're trying to articulate something but can't quite get it across. 820 00:47:11,360 --> 00:47:12,880 If I sing it I'm sorry. 821 00:47:12,960 --> 00:47:15,400 [drums playing] 822 00:47:15,480 --> 00:47:18,840 You know, this was about really celebrating and enjoying 823 00:47:18,920 --> 00:47:24,080 some fucking amazing musicians who-- who just deserve that. 824 00:47:24,160 --> 00:47:26,840 And we happened to be-- we happened to be the vessel, 825 00:47:26,920 --> 00:47:28,240 our songs happened to be the vessel. 826 00:47:28,320 --> 00:47:30,640 When you meet people who've been, like, 827 00:47:30,720 --> 00:47:34,040 arranging and sight reading since they were six years old, 828 00:47:34,120 --> 00:47:36,080 and it's just second nature to them, it's... 829 00:47:36,880 --> 00:47:39,480 ...like, totally honest, it's hugely intimidating, 830 00:47:39,560 --> 00:47:42,480 and you're left feeling a little bit vulnerable at times. 831 00:47:43,920 --> 00:47:46,080 -I feel inadequate. -Yeah. 832 00:47:46,160 --> 00:47:47,280 And old. 833 00:47:50,200 --> 00:47:53,200 I've definitely had some tougher times 834 00:47:53,280 --> 00:47:54,880 where I have struggled a bit with it. 835 00:47:55,800 --> 00:48:01,960 Every single thing you do is caught by at least one camera phone, 836 00:48:02,040 --> 00:48:05,560 if there's not already a professional film crew there, 837 00:48:05,640 --> 00:48:08,360 that just made me feel so scared 838 00:48:08,440 --> 00:48:11,880 about, like, how easily I might get found out. 839 00:48:11,960 --> 00:48:15,240 And I started getting so, like, vicious with myself 840 00:48:15,320 --> 00:48:19,080 if I didn't feel like I was being absolutely perfect. 841 00:48:20,680 --> 00:48:23,440 I don't want to play in front of these people, if I'm honest with you, 842 00:48:23,880 --> 00:48:27,760 it's embarrassing and I... 843 00:48:29,040 --> 00:48:31,200 ...shouldn't be here with them. [chuckles] 844 00:48:31,760 --> 00:48:34,400 It's kind of stressful having to sing after every single time 845 00:48:34,480 --> 00:48:37,000 one of these guys takes a part, and then I have to sing. 846 00:48:37,080 --> 00:48:39,560 Sounds like someone just crashed the car. 847 00:48:40,880 --> 00:48:44,800 [orchestra playing] 848 00:48:44,880 --> 00:48:46,960 [Jonny] I don't know if this is just me being obsessive, 849 00:48:47,040 --> 00:48:50,400 but every time there's a ReOrchestrated show, I change stuff. 850 00:48:51,880 --> 00:48:55,280 [Dan] How can we rearrange these songs in a way that is totally unexpected? 851 00:48:55,360 --> 00:48:57,200 How can we have little moments 852 00:48:57,280 --> 00:49:01,040 that are, like, really hair-raising, goosebump inducing. 853 00:49:01,120 --> 00:49:03,560 Even from our most loyal, hardcore fans, 854 00:49:03,640 --> 00:49:05,840 what can we do to surprise them? 855 00:49:05,920 --> 00:49:08,480 ♪ ...if you like go back ♪ 856 00:49:10,560 --> 00:49:13,600 [orchestra playing] 857 00:49:21,200 --> 00:49:23,120 [violins warm up] 858 00:49:28,000 --> 00:49:31,200 [speaking in German] 859 00:49:32,800 --> 00:49:35,760 -Yeah, yeah. -How are you feeling? 860 00:49:38,400 --> 00:49:39,520 Some of it's weird. 861 00:49:41,440 --> 00:49:42,480 Walk out wearing that, are you gonna-- 862 00:49:42,560 --> 00:49:44,240 We'll try not to screw it up! 863 00:49:44,320 --> 00:49:45,280 Have a good time. 864 00:49:45,360 --> 00:49:46,960 -Thank you, mate. -Enjoy it, mate! 865 00:49:47,600 --> 00:49:48,920 [exhales nervously] 866 00:49:49,000 --> 00:49:52,400 And watch it live on channel-aid.org, 867 00:49:52,480 --> 00:49:53,320 come join us. 868 00:49:54,080 --> 00:49:55,480 [warm orchestral music] 869 00:49:55,560 --> 00:49:57,000 [unintelligible chatter] 870 00:49:57,080 --> 00:49:59,040 Hello, we are at the Elbphilharmonie. 871 00:50:00,560 --> 00:50:02,920 -Feeling ready? -[unintelligible] 872 00:50:06,040 --> 00:50:07,160 Hey. 873 00:50:07,240 --> 00:50:08,400 The strap works. 874 00:50:08,480 --> 00:50:10,320 [crowd cheering] 875 00:50:15,760 --> 00:50:20,000 ♪ When you play it hard ♪ 876 00:50:21,160 --> 00:50:27,120 ♪ And I try to follow you there ♪ 877 00:50:27,200 --> 00:50:31,600 ♪ It's not about control ♪ 878 00:50:32,840 --> 00:50:37,960 ♪ But I turn back when I see where you go ♪ 879 00:50:38,560 --> 00:50:43,680 ♪ Are you going to age with grace? ♪ 880 00:50:44,280 --> 00:50:49,960 ♪ Are you going to leave a path to trace? ♪ 881 00:50:50,040 --> 00:50:53,560 ♪ But oblivion ♪ 882 00:50:55,800 --> 00:50:59,840 ♪ Is calling out your name ♪ 883 00:51:01,480 --> 00:51:05,840 ♪ You always take it further ♪ 884 00:51:07,240 --> 00:51:10,960 ♪ Than I ever can ♪ 885 00:51:12,240 --> 00:51:17,360 I remember, particularly with the choir and Senab, who-- who leads that choir, 886 00:51:17,440 --> 00:51:19,240 the contributions that they made 887 00:51:19,760 --> 00:51:24,720 that just completely blew my mind and I had nothing to do with. 888 00:51:25,760 --> 00:51:29,560 Those moments where some of the moments that made me feel most proud. 889 00:51:30,120 --> 00:51:36,040 ♪ I'm the lesser of two evils ♪ 890 00:51:36,800 --> 00:51:39,400 ♪ So keep looking ♪ 891 00:51:39,480 --> 00:51:43,680 ♪ Just keep looking into my eyes ♪ 892 00:51:45,760 --> 00:51:52,000 ♪ And as the lesser of two evils ♪ 893 00:51:53,000 --> 00:51:55,040 ♪ Oh, it pays ♪ 894 00:51:55,120 --> 00:52:00,280 ♪ To be the nice guy sometimes ♪ 895 00:52:00,800 --> 00:52:05,040 -♪ There are two ways to skin tonight ♪ -♪ Skin tonight ♪ 896 00:52:05,120 --> 00:52:07,680 [Dan] The important thing was getting everybody on stage 897 00:52:07,760 --> 00:52:10,160 at least one moment that was theirs. 898 00:52:10,240 --> 00:52:12,560 [Senab] Dan, he's a person first. 899 00:52:13,160 --> 00:52:14,760 Everybody on the stage matters. 900 00:52:14,840 --> 00:52:17,520 ♪ The lights the lights, the lights ♪ 901 00:52:17,600 --> 00:52:21,360 ♪ They cut a path across the room ♪ 902 00:52:21,440 --> 00:52:23,880 ♪ The lights the lights, the lights ♪ 903 00:52:23,960 --> 00:52:27,240 ♪ A blinding look from me to you ♪ 904 00:52:27,320 --> 00:52:30,840 ♪ And I'll be a rabbit in the headlight ♪ 905 00:52:30,920 --> 00:52:33,720 ♪ We'll never get to heaven ♪ 906 00:52:33,800 --> 00:52:37,200 ♪ Are we running in the headlight? ♪ 907 00:52:37,280 --> 00:52:40,800 -♪ We'll never get to heaven ♪ -♪ Those nights ♪ 908 00:52:42,240 --> 00:52:45,480 ♪ When your friends are gone ♪ 909 00:52:45,560 --> 00:52:51,560 ♪ When you're holding on for someone to leave with ♪ 910 00:52:52,040 --> 00:52:58,280 ♪ Those nights when you crave someone ♪ 911 00:52:58,360 --> 00:53:01,440 ♪ To be there at dawn ♪ 912 00:53:01,520 --> 00:53:05,680 ♪ To wake with because aren't we all just ♪ 913 00:53:05,760 --> 00:53:08,640 ♪ Looking for a little bit of hope these days? ♪ 914 00:53:08,720 --> 00:53:11,880 ♪ Looking for somebody you can wake up with? ♪ 915 00:53:11,960 --> 00:53:14,520 ♪ Looking for a little bit of hope these days? ♪ 916 00:53:14,600 --> 00:53:18,200 ♪ We are, we are ♪ 917 00:53:18,280 --> 00:53:20,720 ♪ Oh, oh, oh ♪ 918 00:53:21,640 --> 00:53:24,000 ♪ Oh, oh, oh ♪ 919 00:53:25,000 --> 00:53:26,840 ♪ Oh, oh, oh ♪ 920 00:53:26,920 --> 00:53:29,920 Bastille is really a redefinition 921 00:53:30,000 --> 00:53:34,680 of pop and rock and everything, I can't really define it into a category, 922 00:53:34,760 --> 00:53:37,240 and that's what I love about them, uh, 923 00:53:37,320 --> 00:53:40,720 because the less definition something has, 924 00:53:40,800 --> 00:53:43,360 then the more attracted you are intuitively to it. 925 00:53:44,800 --> 00:53:48,040 It is-- its is so, uh, full of love 926 00:53:48,120 --> 00:53:51,760 and full of-- full of generosity and beauty. 927 00:53:54,320 --> 00:53:57,920 We're just very lucky to be in the same boat with Bastille. 928 00:53:58,000 --> 00:54:00,240 [crowd cheering] 929 00:54:00,320 --> 00:54:02,800 [inspirational music] 930 00:54:27,680 --> 00:54:31,160 [Kyle] Actually, there was like six songs left and I was like, "That's been ten minutes." 931 00:54:31,240 --> 00:54:33,520 Fun, felt really brief. 932 00:54:34,280 --> 00:54:35,880 -[Kyle] Yeah, it was good. Jesus... -But good. 933 00:54:35,960 --> 00:54:38,000 ...that was amazing, that was so much fun. 934 00:54:38,080 --> 00:54:41,960 [all cheering] 935 00:54:45,000 --> 00:54:47,680 [Dan] The best thing in the world is when something that I think is amazing 936 00:54:47,760 --> 00:54:49,800 or something that we've done that I'm really proud of, 937 00:54:49,880 --> 00:54:53,680 that other people agree, and this is the thing that, like, it would be so hard 938 00:54:53,760 --> 00:54:59,000 to come to that show and not be won over by the spirit of the whole thing. 939 00:54:59,800 --> 00:55:01,200 [Dan] Thank you so much. 940 00:55:01,280 --> 00:55:02,840 [Kyle] Like, I accidentally just played piano 941 00:55:02,920 --> 00:55:04,760 on stage at the Elbphilharmonie with all these-- 942 00:55:04,840 --> 00:55:06,880 with all these classic trained musicians. 943 00:55:07,880 --> 00:55:10,640 I'm not saying that I'm now up to their level, but, I don't know, like, 944 00:55:10,720 --> 00:55:12,840 I can put up a fight, basically, you know. 945 00:55:12,920 --> 00:55:15,640 I'm not going to win, but at least I'm not getting knocked down on first round. 946 00:55:15,720 --> 00:55:17,680 During those shows when it's going well, 947 00:55:17,760 --> 00:55:20,200 obviously I'm shitting myself, I'm going to fuck it up, 948 00:55:20,280 --> 00:55:24,600 but in those moments where I'm not having a panic attack... [chuckles] 949 00:55:24,680 --> 00:55:27,120 ...it's so amazing to be in the middle of those rooms. 950 00:55:27,680 --> 00:55:30,000 I am so grateful for everyone that's there, 951 00:55:30,080 --> 00:55:33,440 and I get obviously such a thrill out of moments of the gig 952 00:55:33,520 --> 00:55:35,520 and hearing people sing along and seeing... 953 00:55:36,080 --> 00:55:40,360 ...seeing-- seeing the crowd, and getting to be on the stage with my friends, you know, 954 00:55:40,440 --> 00:55:43,080 is something that is indescribable. 955 00:55:44,240 --> 00:55:47,240 There's a point in the show where Bim, uh, sings, 956 00:55:47,320 --> 00:55:49,160 in a song called "Fake it," the introduction, 957 00:55:49,240 --> 00:55:52,120 and it literally, every time she opens her mouth and sings that note, 958 00:55:52,200 --> 00:55:54,320 it's like someone's ripped my heart open. 959 00:55:55,240 --> 00:55:57,880 ♪ Ooh ♪ 960 00:55:58,560 --> 00:56:01,320 ♪ Ooh ♪ 961 00:56:01,880 --> 00:56:04,080 ♪ Ooh ♪ 962 00:56:05,120 --> 00:56:08,560 ♪ Ooh, yeah ♪ 963 00:56:08,640 --> 00:56:10,440 ♪ Ooh ♪ 964 00:56:11,760 --> 00:56:14,280 ♪ Ooh ♪ 965 00:56:15,120 --> 00:56:17,680 ♪ Ooh ♪ 966 00:56:18,400 --> 00:56:22,400 ♪ Ooh, yeah ♪ 967 00:56:22,480 --> 00:56:25,520 ♪ Drive around ♪ 968 00:56:25,600 --> 00:56:28,200 ♪ Night time, nowhere to go ♪ 969 00:56:28,760 --> 00:56:31,760 ♪ Melt me down ♪ 970 00:56:32,320 --> 00:56:35,280 ♪ I'm like wax to your jokes ♪ 971 00:56:35,360 --> 00:56:38,360 ♪ Lost and found ♪ 972 00:56:38,840 --> 00:56:41,800 ♪ Knocking heads, laying low ♪ 973 00:56:42,320 --> 00:56:46,720 ♪ There's no point reliving crimes to lose this ♪ 974 00:56:47,400 --> 00:56:50,800 ♪ Still want to waste all of my time ♪ 975 00:56:50,880 --> 00:56:54,000 ♪ I want to waste all of my time ♪ 976 00:56:54,080 --> 00:56:57,280 ♪ Still want to waste all of my time ♪ 977 00:56:57,360 --> 00:57:02,080 ♪ I want to waste all of my time with you ♪ 978 00:57:03,840 --> 00:57:07,560 ♪ Oh, my lover my lover, my love ♪ 979 00:57:07,640 --> 00:57:11,120 ♪ We can never go back ♪ 980 00:57:11,200 --> 00:57:16,080 ♪ We can only do our best to recreate ♪ 981 00:57:16,600 --> 00:57:20,920 ♪ So don't turn over turn over the page ♪ 982 00:57:21,000 --> 00:57:23,600 ♪ We should rip it straight out ♪ 983 00:57:23,680 --> 00:57:27,920 ♪ Then let's do our very best to fake it ♪ 984 00:57:30,120 --> 00:57:33,000 ♪ Show me joy ♪ 985 00:57:33,520 --> 00:57:35,920 ♪ Flower through disarray ♪ 986 00:57:36,920 --> 00:57:39,400 ♪ Let's destroy ♪ 987 00:57:40,040 --> 00:57:42,480 ♪ Each mistake that we made ♪ 988 00:57:43,520 --> 00:57:46,000 ♪ Then restore ♪ 989 00:57:46,480 --> 00:57:49,640 ♪ Color back to the gray ♪ 990 00:57:50,200 --> 00:57:54,360 ♪ There's no pride in sharing scars to prove it ♪ 991 00:57:55,280 --> 00:57:58,640 ♪ Still want to waste all of my time ♪ 992 00:57:58,720 --> 00:58:01,840 ♪ I want to waste all of my time ♪ 993 00:58:01,920 --> 00:58:05,240 ♪ Still want to waste all of my time ♪ 994 00:58:05,320 --> 00:58:09,520 ♪ I want to waste all of my time with you ♪ 995 00:58:10,040 --> 00:58:13,960 ♪ Oh, my lover my lover, my love ♪ 996 00:58:14,040 --> 00:58:16,560 ♪ We can never go back ♪ 997 00:58:17,240 --> 00:58:22,520 ♪ We can only do our best to recreate ♪ 998 00:58:22,600 --> 00:58:27,200 ♪ So don't turn over turn over the page ♪ 999 00:58:27,280 --> 00:58:29,680 ♪ We should rip it straight out ♪ 1000 00:58:29,760 --> 00:58:34,160 ♪ Then let's try our very best to fake it ♪ 1001 00:58:36,480 --> 00:58:38,960 ♪ Help me turn a blind eye ♪ 1002 00:58:39,720 --> 00:58:42,680 ♪ Days and nights we lost to weakness ♪ 1003 00:58:43,240 --> 00:58:46,240 ♪ Help me turn a blind eye ♪ 1004 00:58:46,320 --> 00:58:50,480 ♪ Days and nights we lost to weakness ♪ 1005 00:59:01,600 --> 00:59:03,120 ♪ To weakness ♪ 1006 00:59:04,640 --> 00:59:08,720 ♪ Oh, my lover my lover, my love ♪ 1007 00:59:08,800 --> 00:59:11,040 ♪ We can never go back ♪ 1008 00:59:12,000 --> 00:59:17,000 ♪ We can only do our best to recreate ♪ 1009 00:59:17,480 --> 00:59:21,840 ♪ So don't turn over turn over the page ♪ 1010 00:59:21,920 --> 00:59:24,080 ♪ We should rip it straight out ♪ 1011 00:59:24,640 --> 00:59:29,040 ♪ Then let's do our very best to fake it ♪ 1012 00:59:30,560 --> 00:59:34,480 ♪ Oh, oh, my lover my lover, my love ♪ 1013 00:59:35,040 --> 00:59:38,480 ♪ We can never go back ♪ 1014 00:59:38,560 --> 00:59:43,960 ♪ We can only do our best to recreate ♪ 1015 00:59:44,520 --> 00:59:48,000 ♪ Don't turn over turn over the page ♪ 1016 00:59:48,560 --> 00:59:50,920 ♪ We should rip it straight out ♪ 1017 00:59:51,000 --> 00:59:55,240 ♪ Then let's do our very best to fake it ♪ 1018 00:59:58,880 --> 01:00:02,840 I've never been more creatively fulfilled or, like... 1019 01:00:03,840 --> 01:00:06,760 ...or moved by something that I've been involved with. 1020 01:00:07,520 --> 01:00:12,440 The Dan that I started working with when we did the Union Chapel 1021 01:00:12,520 --> 01:00:14,360 is the Dan of the current... 1022 01:00:15,280 --> 01:00:18,400 ...reorchestration of, uh, Palladium, 1023 01:00:18,480 --> 01:00:21,720 uh, Hamburg, different people. 1024 01:00:23,080 --> 01:00:25,400 It's like he does yoga every day or something. 1025 01:00:26,000 --> 01:00:28,120 I'm there, I'm present. I can hear everything. 1026 01:00:28,200 --> 01:00:29,560 I can hear myself. 1027 01:00:30,080 --> 01:00:33,000 You're part of something organic and big, and it's amazing. 1028 01:00:33,080 --> 01:00:36,240 It makes me really happy, it's something I want to share with people. 1029 01:00:36,320 --> 01:00:42,880 ♪ ...night and we've had many of them ♪ 1030 01:00:44,920 --> 01:00:46,560 I think if we'd started on that night 1031 01:00:46,640 --> 01:00:48,960 in Union Chapel and said, 1032 01:00:49,040 --> 01:00:53,280 "Oh, well, in X amount of time we need to headline the Albert Hall 1033 01:00:53,360 --> 01:00:56,840 and we need to play a show at the Palladium with X amount, 1034 01:00:56,920 --> 01:00:59,640 or, like, Hamburg with 50 piece orchestra." 1035 01:00:59,720 --> 01:01:03,480 It would've seemed way out of our reach, 1036 01:01:03,560 --> 01:01:07,560 but it was just the case of coming back to it and just... 1037 01:01:09,200 --> 01:01:11,760 ...I don't know, just-- just not giving up on it, really, 1038 01:01:11,840 --> 01:01:15,760 that made it as, um, as fun as it was. 1039 01:01:18,200 --> 01:01:21,320 ♪ Does it almost feel like ♪ 1040 01:01:23,320 --> 01:01:25,240 We were going to do the Palladium, and it was kind of, 1041 01:01:25,320 --> 01:01:26,840 "Well, you know, someone needs to conduct." 1042 01:01:26,920 --> 01:01:28,200 And then it was just like, 1043 01:01:28,280 --> 01:01:30,080 "Yeah, Jonny, just do it, you can do it, mate." 1044 01:01:30,160 --> 01:01:33,160 And he did it. It was amazing to watch him do that. 1045 01:01:33,240 --> 01:01:36,280 [orchestra playing] 1046 01:01:37,400 --> 01:01:41,680 I-- I, you know, should've been really nervous, but I just felt really comfortable 1047 01:01:41,760 --> 01:01:46,920 when we were in that amazing old theater and it was sold out, 1048 01:01:47,000 --> 01:01:51,000 and the stage was, you know, creaking because there were so many people on it. 1049 01:01:51,560 --> 01:01:54,080 It-- that just felt like our-- our normal, 1050 01:01:54,160 --> 01:01:56,360 and that's-- that's, you know, that's what we're used to. 1051 01:01:56,440 --> 01:01:58,840 ["Blame" by Bastille playing] 1052 01:02:07,920 --> 01:02:12,040 So, yeah, you certainly couldn't expect what then happened, 1053 01:02:12,120 --> 01:02:13,720 you know, in the following weeks. 1054 01:02:14,240 --> 01:02:18,920 Yeah, that turned out to be, like, our last gig for-- for quite-- quite a while. 1055 01:02:19,000 --> 01:02:22,120 I think if we'd known that was our last night out for a while we probably would've... 1056 01:02:22,200 --> 01:02:24,040 [chuckles] ...I don't know, made a few different plans. 1057 01:02:24,120 --> 01:02:26,160 I'd like, didn't really say, "Bye" to anyone, because I was like, 1058 01:02:26,240 --> 01:02:27,960 "I'll see you all in a few weeks anyway." 1059 01:02:28,040 --> 01:02:30,080 And then all of a sudden, the world stopped. 1060 01:02:30,160 --> 01:02:32,160 There are some gigs that are just, like, I don't know, 1061 01:02:32,240 --> 01:02:33,560 a little slip on a key or whatever like that, 1062 01:02:33,640 --> 01:02:35,920 and it's just like, "Oh, God, if I died-- 1063 01:02:36,000 --> 01:02:39,320 if I died tonight, I'll be so pissed off that that was the last show I did." 1064 01:02:40,200 --> 01:02:42,120 If that happens to be the last show forever, 1065 01:02:42,200 --> 01:02:44,880 I can sleep comfortably with that for sure. 1066 01:02:46,640 --> 01:02:51,120 Just seeing everyone just-- just do everything really well. 1067 01:02:52,040 --> 01:02:54,760 Crew and the whole team had just banded together 1068 01:02:54,840 --> 01:02:58,880 to, like, to sort of do this, and where it was and who it was for, 1069 01:02:58,960 --> 01:03:01,920 every box was ticked in terms of a sort of... 1070 01:03:02,800 --> 01:03:05,800 ...just it sort of working just kind of perfectly. 1071 01:03:05,880 --> 01:03:08,600 [crowd cheering] 1072 01:03:09,280 --> 01:03:11,960 I think that's why it's kind of sad that music, live music particularly 1073 01:03:12,040 --> 01:03:14,000 is obviously so heavily affected, 1074 01:03:14,080 --> 01:03:17,080 and it's going to be such a long time until we can do it again. 1075 01:03:17,160 --> 01:03:21,280 Because I think it's about sort of being together in one space 1076 01:03:21,360 --> 01:03:24,280 and it's about closeness. 1077 01:03:24,360 --> 01:03:27,200 In spite of the fact that creatively there's a lot of stifling, 1078 01:03:27,280 --> 01:03:29,880 and we can't go and do gigs and we can't do rehearsals, 1079 01:03:30,360 --> 01:03:33,760 music, it will always remain a light. 1080 01:03:34,680 --> 01:03:38,560 I think that it's sort of causing this excitement and this bubble, 1081 01:03:38,640 --> 01:03:42,800 so when things eventually get back to normal, 1082 01:03:42,880 --> 01:03:44,880 I just think it's just going to be 1083 01:03:44,960 --> 01:03:49,120 an explosion of just... fearlessness, 1084 01:03:49,200 --> 01:03:51,800 and obviously Bastille did that prior to lockdown, 1085 01:03:51,880 --> 01:03:55,520 so only God knows what they're going to do now. [laughs] 1086 01:03:55,600 --> 01:03:57,640 [crowd cheering] 1087 01:03:59,520 --> 01:04:01,360 [unintelligible chatter] 1088 01:04:01,440 --> 01:04:04,160 Yes! Nice one, everybody. 1089 01:04:04,240 --> 01:04:07,600 ♪ School's out forever ♪ 1090 01:04:08,160 --> 01:04:12,600 To go from that to there being no gigs at all 1091 01:04:12,680 --> 01:04:15,160 and everyone being completely divided and-- 1092 01:04:15,240 --> 01:04:20,480 and-- and, you know, forcibly isolated has been mad. 1093 01:04:20,560 --> 01:04:23,400 [singing "Snakes" by Bastille] 1094 01:04:32,360 --> 01:04:35,880 You know, it's forced me to slow down a bit and think about... 1095 01:04:37,600 --> 01:04:40,040 ...I don't know, just having space in your head 1096 01:04:40,120 --> 01:04:43,240 and having space in your day. 1097 01:04:43,320 --> 01:04:46,200 Also, like, I think, like, a lot of people who make stuff 1098 01:04:46,280 --> 01:04:48,440 or want to be creative, you know, 1099 01:04:49,200 --> 01:04:51,360 you're always thinking about the next thing 1100 01:04:51,440 --> 01:04:54,280 and wanting to surprise people 1101 01:04:54,360 --> 01:04:56,120 and be interesting 1102 01:04:56,200 --> 01:04:59,400 and keep yourself interested. 1103 01:05:01,080 --> 01:05:05,080 There's such a weird, self-centered whirlpool of an ecosystem 1104 01:05:05,160 --> 01:05:08,760 about-- sometimes being on a band or being on tour, you know. 1105 01:05:08,840 --> 01:05:10,640 You can get lost in it, and... 1106 01:05:11,200 --> 01:05:14,200 ...and things can seem way disproportionately important. 1107 01:05:14,280 --> 01:05:19,360 So recreating success can feel, like, important, but that's ridiculous. 1108 01:05:20,360 --> 01:05:22,400 Though I suppose there's a point to be proven, 1109 01:05:22,480 --> 01:05:24,160 and there is no point to be proven. 1110 01:05:25,400 --> 01:05:26,480 We're lucky to do this. 1111 01:05:26,560 --> 01:05:28,680 [singing "Snakes" by Bastille] 1112 01:05:45,560 --> 01:05:47,960 [gentle orchestral music] 1113 01:06:10,040 --> 01:06:15,040 ♪ Staring down the barrel of a 100 tons ♪ 1114 01:06:16,440 --> 01:06:21,440 ♪ It might be getting older but the night's still young ♪ 1115 01:06:23,000 --> 01:06:28,000 ♪ We never never give up on the lost boy life ♪ 1116 01:06:29,400 --> 01:06:34,400 ♪ So here we are escaping from the world outside ♪ 1117 01:06:38,440 --> 01:06:43,440 ♪ Carried away ♪ 1118 01:06:44,200 --> 01:06:51,040 ♪ Hold up, wait ♪ 1119 01:06:51,600 --> 01:06:57,240 ♪ Carried away ♪ 1120 01:06:57,320 --> 01:07:02,680 ♪ Hold up, wait ♪ 1121 01:07:03,680 --> 01:07:08,080 ♪ Oh, what would your mother say if she could see what we're doing now? ♪ 1122 01:07:10,160 --> 01:07:14,440 ♪ Oh, what would your mother say if she could hear what we talk about? ♪ 1123 01:07:16,520 --> 01:07:20,560 ♪ The waves are crashing down on you and me again ♪ 1124 01:07:20,640 --> 01:07:22,960 ♪ Again, again ♪ 1125 01:07:23,040 --> 01:07:26,160 ♪ The waves are crashing down on you and me ♪ 1126 01:07:26,240 --> 01:07:30,000 ♪ I'll see you on the other side ♪ 1127 01:07:30,080 --> 01:07:31,640 ♪ Get carried ♪ 1128 01:07:31,720 --> 01:07:35,200 ♪ Get carried away ♪ 1129 01:07:36,520 --> 01:07:38,000 ♪ Caught up in ♪ 1130 01:07:38,080 --> 01:07:42,760 ♪ Caught up in the waves ♪ 1131 01:07:43,320 --> 01:07:48,880 ♪ Carried away ♪ 1132 01:07:48,960 --> 01:07:54,040 ♪ Hold on, wait ♪ 1133 01:07:54,120 --> 01:07:58,040 ♪ Suddenly we're falling through the Twilight Zone ♪ 1134 01:08:00,480 --> 01:08:05,080 ♪ Watch the party playing out in slow motion ♪ 1135 01:08:06,720 --> 01:08:11,720 ♪ So tie a ribbon around my arm and throw me in ♪ 1136 01:08:13,400 --> 01:08:20,200 ♪ Is it an apocalypse or nihilism on your lips we sink or swim ♪ 1137 01:08:21,560 --> 01:08:25,920 ♪ Oh, what would your mother say if she could see what we're doing now? ♪ 1138 01:08:27,960 --> 01:08:32,440 ♪ Oh, what would your mother say if she could hear what we talk about? ♪ 1139 01:08:34,280 --> 01:08:40,720 ♪ The waves are crashing down on you and me again, again, again ♪ 1140 01:08:40,800 --> 01:08:44,000 ♪ The waves are crashing down on you and me ♪ 1141 01:08:44,080 --> 01:08:47,800 ♪ I'll see you on the other side ♪ 1142 01:08:47,880 --> 01:08:49,400 ♪ Get carried ♪ 1143 01:08:49,480 --> 01:08:53,840 ♪ Get carried away oh, oh, oh, oh, oh ♪ 1144 01:08:53,920 --> 01:08:55,920 ♪ Caught up in ♪ 1145 01:08:56,000 --> 01:09:00,840 ♪ Caught up in the waves ♪ 1146 01:09:26,240 --> 01:09:29,160 ♪ The air hit me on the way out ♪ 1147 01:09:29,240 --> 01:09:32,880 ♪ Did it make me more sober or make me more drunk ♪ 1148 01:09:32,960 --> 01:09:35,760 ♪ I couldn't quite remember ♪ 1149 01:09:35,840 --> 01:09:38,400 ♪ The vision of you and of me ♪ 1150 01:09:39,200 --> 01:09:42,120 ♪ The air hit me on the way out ♪ 1151 01:09:42,200 --> 01:09:45,800 ♪ Did it make me more sober or make me more drunk ♪ 1152 01:09:45,880 --> 01:09:48,200 ♪ I couldn't quite remember ♪ 1153 01:09:48,680 --> 01:09:51,960 ♪ The vision of you and of me ♪ 1154 01:09:52,040 --> 01:09:55,440 ♪ The waves are crashing down on you and me ♪ 1155 01:09:55,520 --> 01:09:58,520 ♪ Again, again, again ♪ 1156 01:09:58,600 --> 01:10:02,040 ♪ The waves are crashing down on you and me ♪ 1157 01:10:02,120 --> 01:10:05,840 ♪ I'll see you on the other side ♪ 1158 01:10:05,920 --> 01:10:07,360 ♪ Get carried ♪ 1159 01:10:07,440 --> 01:10:10,320 ♪ Get carried away ♪ 1160 01:10:11,880 --> 01:10:13,800 ♪ Caught up in ♪ 1161 01:10:13,880 --> 01:10:18,000 ♪ Caught up in the waves ♪ 1162 01:10:18,080 --> 01:10:21,320 ♪ The waves are crashing down ♪ 1163 01:10:21,400 --> 01:10:23,240 ♪ They're crashing down ♪ 1164 01:10:24,600 --> 01:10:27,760 ♪ The waves are crashing down on you and me ♪ 1165 01:10:27,840 --> 01:10:31,560 ♪ I'll see you on the other side ♪ 1166 01:10:31,640 --> 01:10:33,080 ♪ Get carried ♪ 1167 01:10:33,160 --> 01:10:36,480 ♪ Get carried away ♪ 1168 01:10:37,880 --> 01:10:39,400 ♪ Caught up in the ♪ 1169 01:10:39,480 --> 01:10:43,480 ♪ Caught up in the waves ♪