It’s been seven months since Mezzanine came out. You’ve had a lot of time to digest, remix and perform these pieces live. How are they holding up?
**** me, yeah. It's seven months isn't it? It's old. ****in' hell. It feels longer than that even. I'm ****ing so bored of it. It is difficult to play the same things. We've played 75 shows and it's getting more laborious every time.
That's what's going on during every show?
****ing right! [laughs] I'm not doing hair and make-up d'ya-know-what-I-mean? I'm just sitting there cracking a beer and [makes a puffing sound and smoking gesture]. I'm thinking "Ah, Horace is in tune tonight. Oh lovely, lovely, lovely, lovely…." and watching everyone else get on with it. It's weird. Maybe that's half the reason it's difficult. I'm listening to the songs so many times, even when I'm not performing them, know-what-I-mean? You forget what it's like to write them and what it's like to be in the studio getting them outta your head. It becomes slightly detached—it feels like someone else's music.
You're almost a spectator at your own show.
Yeah, sometimes it feels like that—to a certain extent. But because I'm doing vocals, I get involved. I've done them so many times that I get bored of them too. A lot of bands I've met suffer from the same thing—when they're onstage singing or playing their instrument for 15 songs or whatever. They find it boring too. You go into autopilot sometimes and you come out of it and realize you've lost yourself. You come out of it and it's quite scary when you go "****, where am I in this song? **** where am I anyway?" It's quite weird.