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Downloaded from
YTS.MX
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Official YIFY movies site:
YTS.MX
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[audience applauding]
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[audience cheering]
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["Boat" playing]
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[audience cheering, whistling]
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Thank you very much.
How're you guys doing?
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- [audience cheering continues]
- Welcome to Subtract.
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So, um, the origins of this album,
I know I've written about it online,
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but, like, when I finished Plus,
my debut album,
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the next album I was gonna make
was Subtract.
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And I went in, uh, with Rick Rubin
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and we started recording
this acoustic album
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and it just sort of morphed into Multiply,
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because I don't think I was probably ready
to make an acoustic album.
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I wanted to, you know,
make "Sing" with Pharrell,
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and "Thinking Out Loud," and "Photograph,"
and do-- and do all this sort of stuff.
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And then, after that came Divide.
And after Divide,
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I really wanted to make Subtract,
but it also morphed into Equals
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in the pandemic,
and I wanted to come out of the pandemic
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with "Bad Habits" and have a song
to make people dance and stuff.
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So I'd been putting together this record
over a decade
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with all my favorite acoustic songs
that I'd written over the last decade.
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And it was, uh,
slated to be put out this year.
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Uh, and then
at the beginning of last year,
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I probably had the darkest month
of my life,
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and it made me address lots of things.
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And I'd met Aaron previously.
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Everyone, make some noise
for Mr. Aaron Dessner, over there.
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[audience cheering, whistling]
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And I'd met Aaron through Taylor.
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Taylor had hooked me
and Aaron up on-- on email.
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[audience cheering continues]
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And then me and Aaron went for dinner.
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This is, like, November 2021.
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Me and Aaron went for dinner, and, uh,
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I was telling him I'm just about
to put out this album, Subtract.
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But after that,
I would love to try something different,
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maybe with electric guitars,
blah-blah-blah.
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And he sent me a bunch of instrumentals.
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And I sort of s-- Had them for a while,
and I was like,
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"I w-- I'll get to them eventually,
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but, you know, I'm gonna put out
Subtract and do all of that."
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And then February happened,
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and I basically wrote over
all these instrumentals.
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We got in the studio
and we f-- and we finished it.
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And, uh,
what has come out of it is actually
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what Subtract was always meant to be,
which is-- which is this record.
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Uh, so I'm gonna play it in full,
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all the songs,
and explain stories behind them.
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Uh, this song is called "Salt Water."
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- [audience cheers]
- It's basically, like, I've had, you know,
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ups and downs throughout my life
since I was very, very young.
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And, uh, you know, as I've got older
and become a parent, those ups and downs,
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you feel more ashamed about because,
you know, you-you hate thinking dark,
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dark thoughts when you have children
to look after.
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But this is, uh, a song which basically
encapsulates all of that "what if?"
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And it's called "Salt Water."
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[audience cheering, whistling]
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["Salt Water" playing]
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[audience cheering, whistling]
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So, um, the last time I was in this venue,
uh, it was with my friend Jamal.
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Uh, we came to a comedy show here
and we sat that side of stage and, um...
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[clicks tongue] ...uh, yeah,
it's kind of weird being back here
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for the first time since then.
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Uh, this next song was inspired by Jamal.
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Um, but, you know, now it's out.
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I find, like, as I said earlier,
like, music, uh,
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when I write, it belongs to me.
When I release it, it belongs to you guys.
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And I really felt-- Like, the first time
that I played this song ever,
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I cried. I cried when I introduced it,
I cried when I sung it,
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I cried at the end.
And I'm gonna cry now. [chuckles]
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- [audience cheering]
- [audience member] We love you, Ed!
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This will happen a lot in the gig,
by the way.
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[audience cheering]
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But I found-- I found this song,
like, super, like, cathartic to write
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and put out there, 'cause it's kind of--
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****. I know this is being filmed.
[chuckles] Let's just--
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[audience cheering]
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I found over the last, like,
two days with, like,
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people sharing their stories
and stuff, it's been, like,
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obviously heartbreaking
reading everyone's stories,
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but it's just something
that we all go through.
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It's like-- [breathes heavily]
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[audience cheering]
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Apple-- Apple, when you're editing this,
just make it... [chuckles] ...smooth.
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Um... [clicks tongue] ...yeah,
it's just, I mean,
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that's the thing I realized
when all these things happened last year.
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It's just, like... It's just being an adult,
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like, this **** just happens,
and everyone goes through it.
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[exhales deeply] Three songs in. Wow.
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[audience chuckling, cheering]
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This is "Eyes Closed."
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Can you count in?
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One, two, three, four.
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["Eyes Closed" playing]
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[audience cheering]
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You know, it's, uh--
It's weird 'cause this,
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you know, I sing songs all the time,
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but, uh, this is, like, real-life stuff
that's-that's happened,
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so I'm sorry that real-life emotions
got in the way on stage.
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[audience cheering]
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So, this next song is a song called
"Life Goes On," and, um,
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I felt like when Jamal passed away,
I wanted the world to
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stop like it did for the Queen.
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You know, when the Queen passed away
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and the whole world
just stopped for a day?
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And it sort of did. It sort of did.
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Everyone sort of gathered together, uh,
for that one day and then the next day,
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you know, everyone sort of got back
to their lives.
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And I know that's, again, a normal thing.
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People have jobs, people have things
that they have to do.
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But I just didn't feel ready to,
and I still don't feel ready to.
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I feel, like, you know,
grief is one of these things
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that you're kind of expected to feel sad
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for two weeks, a month, or whatever.
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And then after that point, you know,
everyone rallies around you
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for the first couple of weeks,
and then after that point,
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you just sort of have to get on with it.
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And we're a year on, and, you know,
I'm not over it.
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And I don't want to be.
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I like feeling emotion for it.
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It makes me feel-- It makes me feel,
and I think that's a good thing.
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- So, um.
- [audience cheering]
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[Ed] Ugh.
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In my experience,
the worst thing for the vocal cords,
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at any point, is to cry.
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- [chuckles] They sound dreadful.
- [audience laughing]
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So... [sniffs] ...Apple, again, be kind.
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[audience chuckling]
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This is "Life Goes On."
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[audience cheering]
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["Life Goes On" playing]
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[audience cheering, applauding]
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[exclaims]
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So, I have two amazing daughters,
who are fabulous.
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[audience cheering] Whoo!
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But when-- when all this was going on,
I had one and a half
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because one of them was in, uh,
in a womb. [chuckles]
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But it's amazing, like, kids-- kids,
I mean, they do know what's going on,
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but they also don't know/care.
If that makes sense.
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So I would, like, go to bed crying
and wake up with an amazing, you know,
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ball of energy just being like,
"Hi! Let's do stuff."
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And... [chuckles] ...it's--
it's a real juxtaposition to have,
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you know, real darkness at night
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and then wake up
with just a beautiful girl
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who just wants to listen to music
in-- in the morning.
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And all throughout this, you know,
I'd get up with my daughter
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and we'd pick a record
and we'd put a record on.
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We'd eat breakfast
and it would just be great.
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Just, like, really great.
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Um, and that's how this song came about.
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Uh, we'd put on Dusty in Memphis and...
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- You know, my daughter has good taste.
- [audience chuckling]
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Uh, and this song's called "Dusty."
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[audience applauding]
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["Dusty" playing]
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[audience cheering]
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I was just saying to Aaron, like...
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when we made that song
it was obviously, like, joyous.
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Uh, and when I was putting
the track list together, I was like...
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Heavy, heavy, heavy, heavy, heavy...
Put some joy in. [chuckles] Joy.
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[audience chuckles]
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Now we get back to the heaviness.
[chuckles]
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So the thing that I realized most
from grief is that,
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uh,
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the moment you become an adult
is when that happens.
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Because it's, you know, the first time
you're sort of dealing with--
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I mean, it's not just grief,
it's any-- any real-life situation.
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That is the moment you become an adult.
It forces you to just become an adult.
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And what I realized
in that situation is I had so many friends
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in school that, you know,
lost parents when they were teenagers
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or people that lost parents
when they were, like, three or four.
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And they have to deal with
that real life-ness at that age
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and become adults at that age.
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And it literally just ends your youth
in its tracks.
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Just stops it. Just ends the youth.
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So you can be 12 years old
and your youth is over,
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you have to deal with real life and...
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You know, it really got me thinking.
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It got me, um, talking to mates
that had gone through that.
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And talking to them about it
and how-how it was.
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And, uh, I wrote this song, uh,
called "The End of Youth" which is,
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you know, uh, the lyric is, um,
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"We spend our youth with arms
and hearts wide open
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and then the dark gets in
and that's the end of youth."
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And I really feel that.
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I really feel like the m-moment
you start feeling darkness,
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your youth ends. But... Cheery. Here we go.
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[audience chuckling]
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["The End of Youth" playing]
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[audience cheering, whistling]
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Though I find being in love is, uh...
[clicks tongue]
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...you know, it's a wonderful thing,
it's not necessarily a fairy tale.
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Like, love you have to work at.
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Marriage you have to work at,
and it's different shades of color
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every single day.
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You have some days
where you are bright red anger.
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Some days where it's just blue calm.
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Some days where it's fiery passion.
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You know,
it's like a wide spectrum of colors.
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And, um... [clicks tongue]
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The-- This-- This song
is basically written about that.
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That when you're-- [stammers]
when you're in love, you're essentially--
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you can see through all of it and be--
and be color-blind.
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Um, so this song is called "Colourblind,"
basically.
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[audience cheering]
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["Colourblind" playing]
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[audience cheering]
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I feel like when you're going through
periods of your life
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where you're feeling
really deep depression,
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you tend to shut the world out, uh,
which is probably the wrong thing to do,
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but it just always feels
like the only thing to do.
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You draw the curtains, close the door.
I don't wanna speak to anyone.
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Um, leave me alone, basically.
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Uh, and I'm fortunate enough to have
lots of brilliant people in my life,
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lots of really kind friends,
my wife, my parents.
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And, uh, you know, there's always someone
there to help draw the curtains
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and let in the sunshine.
And this is what this song is about.
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- It's called "Curtains."
- [audience applauding]
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["Curtains" playing]
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[audience cheering, whistling]
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Thanks.
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How's everyone feeling?
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[audience cheering]
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[chuckles]
I'm really, really proud of this album.
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This is the first-- I'm, like, so grateful
to these players for being on stage.
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It's the first time I've, uh, um,
played an album in full.
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I'm so honored that we're doing it
at the Apollo.
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00:39:33,624 --> 00:39:36,210
And these guys are just
fan-****-tastic.
231
00:39:36,210 --> 00:39:38,045
Can you give everyone
a round of applause, please?
232
00:39:38,045 --> 00:39:39,922
- [audience cheering, whistling]
- I feel so lucky.
233
00:39:39,922 --> 00:39:43,258
I feel so lucky and-and honored to play
with you guys. Thank you.
234
00:39:45,844 --> 00:39:46,845
Um...
235
00:39:48,347 --> 00:39:51,517
And if you didn't know, so,
the reason that it-- I mean--
236
00:39:51,517 --> 00:39:53,602
I was gonna say the reason
it sounds like the record.
237
00:39:53,602 --> 00:39:55,270
You haven't even heard the record.
[chuckles]
238
00:39:55,270 --> 00:39:57,856
The reason it sounds like the record
is these guys played on the record,
239
00:39:57,856 --> 00:40:02,110
so we're literally recreating exactly
what Aaron made in the studio,
240
00:40:02,110 --> 00:40:04,071
um, which is cool.
241
00:40:04,071 --> 00:40:05,906
So this next song is called "Borderline."
242
00:40:05,906 --> 00:40:10,202
Um, I had some other stuff go on
around February last year.
243
00:40:10,202 --> 00:40:14,122
There were some health scares
with someone I love really dearly.
244
00:40:14,623 --> 00:40:20,420
Um, and, uh, I rung up Aaron and I said,
"I've just found out this news.
245
00:40:20,420 --> 00:40:22,589
Could you send me
some more instrumentals?"
246
00:40:22,589 --> 00:40:24,925
And he sent me seven instrumentals,
247
00:40:24,925 --> 00:40:30,305
and I sent him back, in probably,
like, three hours, seven songs.
248
00:40:30,305 --> 00:40:32,266
And, uh, this was the first one.
249
00:40:32,266 --> 00:40:35,102
Uh, the first line is,
"Sadness always finds an in."
250
00:40:35,102 --> 00:40:36,478
And I really do believe that.
251
00:40:36,478 --> 00:40:38,397
Even if you're having a great day,
there's always a way--
252
00:40:38,397 --> 00:40:39,356
Sorry, this is rea-- [chuckles]
253
00:40:39,356 --> 00:40:42,109
- This is really-- [chuckles] You guy--
- [audience laughing, murmuring]
254
00:40:42,109 --> 00:40:44,695
We finished with "Bad Habits"
and went straight in with this.
255
00:40:44,695 --> 00:40:47,865
But, um, yeah. I just find, um...
256
00:40:49,408 --> 00:40:51,743
I'm just gonna sing it.
It's called "Borderline."
257
00:40:51,743 --> 00:40:54,872
[audience cheering]
258
00:40:58,709 --> 00:41:01,253
["Borderline" playing]
259
00:44:43,475 --> 00:44:46,812
[audience cheering, whistling]
260
00:44:54,570 --> 00:44:55,612
Cheers, mate.
261
00:44:58,657 --> 00:45:00,117
Right, um.
262
00:45:00,117 --> 00:45:05,289
So this next song is called "Spark"
and, uh, it's basically about-- I feel--
263
00:45:05,289 --> 00:45:09,376
I feel like life's in chapters
and, um, getting--
264
00:45:10,752 --> 00:45:16,758
I don't know, feeling, uh,
reminiscent can sometimes be a bad thing
265
00:45:16,758 --> 00:45:19,511
because you keep yourself
in the last chapter.
266
00:45:19,511 --> 00:45:23,682
And I feel like it's all about, um--
[clicks tongue] I don't know.
267
00:45:23,682 --> 00:45:25,893
You know, in movies,
when people have those breakups,
268
00:45:25,893 --> 00:45:27,394
and they put everything into the fire,
269
00:45:27,394 --> 00:45:29,688
and they go, "And it's a new dawn
and blah-blah-blah."
270
00:45:29,688 --> 00:45:32,858
I feel that's a healthy thing sometimes,
to just move on and just be like,
271
00:45:32,858 --> 00:45:34,860
"That was that. And this is now."
272
00:45:34,860 --> 00:45:37,696
And, uh, the lyri--
The lyrics to this chorus are, you know,
273
00:45:37,696 --> 00:45:39,615
"We'll build a fire,
and we'll torch our old life
274
00:45:39,615 --> 00:45:43,035
and hope the original spark
of what made it amazing survives,
275
00:45:43,035 --> 00:45:48,248
and we'll just move on from it."
But, uh, yeah. This is "Spark."
276
00:45:48,248 --> 00:45:50,459
[audience cheering, whistling]
277
00:45:53,754 --> 00:45:56,965
["Spark" playing]
278
00:49:13,996 --> 00:49:16,248
[audience cheering, whistling]
279
00:49:26,800 --> 00:49:30,804
So it was pouring with rain
when Aaron sent me all these, um, songs.
280
00:49:30,804 --> 00:49:34,975
And the first lines of this song is,
"Rain keeps beating on the rooftop,
281
00:49:34,975 --> 00:49:37,144
muddying the glass but,
God, I love the sound of heaven."
282
00:49:37,144 --> 00:49:39,271
And, um, yeah, this is a song,
283
00:49:39,271 --> 00:49:41,940
another song that was written
in that batch along with "Borderline."
284
00:49:41,940 --> 00:49:45,068
And along with the next two.
Well, the next one, at least.
285
00:49:45,986 --> 00:49:48,071
And, uh, it's called "Vega."
286
00:49:48,071 --> 00:49:53,911
The Vega is, um, the brightest star
in the Lyra constellation which, uh,
287
00:49:53,911 --> 00:49:55,245
which I found quite cool.
288
00:49:55,245 --> 00:49:59,791
I kind of, like-- It's-- I found it
really weird writing to Aaron's music
289
00:49:59,791 --> 00:50:02,002
'cause what-what happens with Aa--
290
00:50:02,002 --> 00:50:07,257
Aaron basically sends a fully formed song,
essentially. And you write over it.
291
00:50:07,257 --> 00:50:09,843
And usually I would be in the studio
and I would get--
292
00:50:10,552 --> 00:50:13,472
I would pick up a guitar and I'd go,
"Right, what do we write about today?
293
00:50:13,472 --> 00:50:14,556
We're doing... [mumbles]
294
00:50:14,556 --> 00:50:16,058
[mutters lyrics of "Bad Habits"]
295
00:50:16,058 --> 00:50:18,685
Okay, is that a good line? Is it 'bad
habits lead to late night,' or is this..."
296
00:50:18,685 --> 00:50:20,687
And you kind of go back and forth,
and you bounce ideas
297
00:50:20,687 --> 00:50:23,315
and that's the collaborative process
that I've usually done,
298
00:50:23,315 --> 00:50:26,026
whereas this collaborative process
is Aaron going, like,
299
00:50:26,527 --> 00:50:30,531
"Just write what you feel." And I found...
[stammers] ...words pouring out.
300
00:50:30,531 --> 00:50:33,075
And some of them, I was like,
"What does that even mean?
301
00:50:33,075 --> 00:50:35,577
'It burns like hell to be Vega.'
Like, what--" [stammers]
302
00:50:35,577 --> 00:50:38,580
But it was just a line
that just came out of my mouth
303
00:50:38,580 --> 00:50:39,957
whilst writing this song.
304
00:50:39,957 --> 00:50:45,087
And, you know, this song probably took
as much time to write as the song itself.
305
00:50:45,087 --> 00:50:47,881
Like, it just fell out.
Uh, and I can't describe it.
306
00:50:47,881 --> 00:50:52,219
Aaron's-- Aaron's music has songs
in it that you just have to...
307
00:50:52,219 --> 00:50:54,888
You know, like in Harry Potter,
when it's the Pensieve,
308
00:50:54,888 --> 00:50:56,431
and you take that bit out.
I find, like, that--
309
00:50:56,431 --> 00:50:59,142
Aaron's song is Dumbledore's mind
basically. And you just...
310
00:50:59,142 --> 00:51:02,855
- [audience cheering]
- [chuckles] ...take it out. But yeah.
311
00:51:03,814 --> 00:51:05,107
So this is "Vega."
312
00:51:16,493 --> 00:51:18,537
["Vega" playing]
313
00:53:57,738 --> 00:54:00,115
[audience cheering]
314
00:54:09,374 --> 00:54:14,630
[grunts] So, that day... [clicks tongue]
...we got the news,
315
00:54:14,630 --> 00:54:18,300
uh-- I got sent all these--
all these songs, uh,
316
00:54:18,300 --> 00:54:20,844
and we were driving up to a specialist,
317
00:54:20,844 --> 00:54:25,265
um, in North London to sort of
get results and scans
318
00:54:25,265 --> 00:54:28,143
and work out what the nex-next steps were.
319
00:54:28,143 --> 00:54:31,021
And I wrote this song.
320
00:54:31,021 --> 00:54:34,775
Basically, I just find, like,
we're born into life with love.
321
00:54:34,775 --> 00:54:36,985
Our parents love us,
and we're born in love,
322
00:54:36,985 --> 00:54:41,865
and hopefully we leave the same way.
But, yeah, this is called "Sycamore."
323
00:54:41,865 --> 00:54:45,244
[audience cheers]
324
00:54:49,206 --> 00:54:51,750
["Sycamore" playing]
325
00:57:21,483 --> 00:57:23,110
[audience cheering]
326
00:57:32,995 --> 00:57:33,996
Thank you.
327
00:57:34,955 --> 00:57:35,956
Um.
328
00:57:37,833 --> 00:57:40,627
So, my dad, uh,
said to me when I got married--
329
00:57:40,627 --> 00:57:45,924
He said, um, "You will not know
what real love and marriage is
330
00:57:45,924 --> 00:57:50,596
until there's death and there's,
uh, real sickness."
331
00:57:50,596 --> 00:57:52,973
And he said this because, uh,
332
00:57:52,973 --> 00:57:55,058
that happened
when he first married my mum.
333
00:57:55,058 --> 00:57:58,061
There was, uh, real, real grief
that happened in the family,
334
00:57:58,061 --> 00:58:00,898
and real, real sickness that also
then ended up in grief
335
00:58:00,898 --> 00:58:02,649
that they both had to go through,
336
00:58:02,649 --> 00:58:04,443
and he said that that
really brought them together.
337
00:58:04,443 --> 00:58:06,945
And he just said, "Once that happens,
it's an unbreakable bond,
338
00:58:06,945 --> 00:58:09,114
and you can't ever break it."
339
00:58:09,114 --> 00:58:15,037
And, um, you know, I've been married now
almost five years, and, uh, the--
340
00:58:15,954 --> 00:58:18,207
You know,
I've always felt real, real closeness,
341
00:58:18,207 --> 00:58:23,462
but last year was when
that sort of unbreakable bond was made.
342
00:58:23,462 --> 00:58:27,090
And I know-- I know you should feel
that before with, you know, marriage
343
00:58:27,090 --> 00:58:28,759
and then children and blah-blah-blah,
344
00:58:28,759 --> 00:58:32,638
but I really feel
like we got through 2022,
345
00:58:32,638 --> 00:58:34,181
we can get through anything basically.
346
00:58:34,181 --> 00:58:36,308
[audience cheering, whistles]
347
00:58:39,311 --> 00:58:41,230
And I wanna say, like, we're nearing--
348
00:58:41,230 --> 00:58:43,941
we're nearing the end of Subtract now.
There's two more songs.
349
00:58:43,941 --> 00:58:48,111
Thank you for sitting through this...
[chuckles] ...therapy session.
350
00:58:48,111 --> 00:58:50,030
[audience cheering]
351
00:58:51,782 --> 00:58:54,409
This is my favorite song on the album.
352
00:58:54,409 --> 00:58:57,079
Might be one of my favorite songs
I've ever written.
353
00:58:57,079 --> 00:58:59,248
Uh, and it's called "No Strings."
354
00:58:59,248 --> 00:59:02,251
[audience cheering]
355
00:59:05,921 --> 00:59:08,257
["No Strings" playing]
356
01:01:48,417 --> 01:01:50,460
- [audience cheering]
- Thanks.
357
01:02:02,514 --> 01:02:05,350
Well, this has been
a roller coaster of emotions.
358
01:02:05,350 --> 01:02:07,311
Um, thank you very much for coming.
359
01:02:07,311 --> 01:02:09,104
Thank you to Apple Music
for putting it on.
360
01:02:09,104 --> 01:02:13,609
And, um... [clicks tongue]
...yeah, thanks for not filming,
361
01:02:13,609 --> 01:02:17,321
being cool, listening.
Just, yeah, being sound.
362
01:02:17,321 --> 01:02:21,116
I, uh-- I was hyper-nervous
before I went on stage.
363
01:02:21,116 --> 01:02:25,871
I was like, "You're not gonna cry."
And three songs in, I did. [chuckles]
364
01:02:25,871 --> 01:02:31,210
But, yeah-- As I said, like,
this isn't a fabricated thing.
365
01:02:31,210 --> 01:02:34,838
We're, like-- This is my real life.
You all have real-life things.
366
01:02:34,838 --> 01:02:37,674
And hopefully when this comes out,
you can connect to it,
367
01:02:37,674 --> 01:02:40,886
and then I don't-- [chuckles]
I don't have to think about it anymore.
368
01:02:40,886 --> 01:02:43,680
Um... [clicks tongue] ...but, yeah,
thank you so much for coming.
369
01:02:43,680 --> 01:02:46,517
I just want to say
before we do this last song,
370
01:02:46,517 --> 01:02:51,271
and I know I've said it before,
but these musicians are, like, the best.
371
01:02:51,271 --> 01:02:52,481
- [audience cheering]
- They are the best.
372
01:02:52,481 --> 01:02:57,110
So thank you so much for playing
with me and making this come to life.
373
01:02:59,530 --> 01:03:02,074
Um, and, yeah, like, Aaron--
374
01:03:03,200 --> 01:03:07,746
Aaron is really, like--
He just gets me. And he gets emotion,
375
01:03:07,746 --> 01:03:11,333
and he has a massive heart
that comes through the music.
376
01:03:11,333 --> 01:03:14,419
And it's an honor to stand on stage
with you and play. Thank you.
377
01:03:15,379 --> 01:03:17,548
[audience cheering]
378
01:03:20,676 --> 01:03:23,846
So this last song is, um, the oldest song.
379
01:03:24,972 --> 01:03:27,057
Uh, I wrote this ten years ago.
380
01:03:28,600 --> 01:03:31,061
Uh, and it was always gonna end Subtract.
381
01:03:31,061 --> 01:03:34,398
On my version of Subtract that I had,
this was always the last song.
382
01:03:34,940 --> 01:03:37,526
And I felt-- When we--
When we put the album together,
383
01:03:37,526 --> 01:03:40,904
and it ended with "No Strings,"
I sort of felt it was a bit--
384
01:03:41,655 --> 01:03:45,659
You know, it sort of ends in the world
of grief and pain
385
01:03:45,659 --> 01:03:47,286
and depression and stuff like that.
386
01:03:47,286 --> 01:03:53,792
And I thought it would be really nice to,
uh, ease the audience out with a song.
387
01:03:53,792 --> 01:03:56,628
So this is a song that I wrote
for Subtract.
388
01:03:56,628 --> 01:04:00,465
I wrote it up in a-a-a beautiful
Highland town called Aberfeldy,
389
01:04:00,465 --> 01:04:02,426
- which makes great whiskey as well...
- [audience cheering]
390
01:04:02,426 --> 01:04:05,345
...with my, uh-- with my friend Foy Vance,
391
01:04:05,345 --> 01:04:08,974
who, uh, has been a collaborator
for God knows how long.
392
01:04:08,974 --> 01:04:11,560
Uh, and, yeah,
it's the last song on the album.
393
01:04:11,560 --> 01:04:14,563
It's meant to gently take us out.
Thank you so much for coming.
394
01:04:14,563 --> 01:04:16,148
Thank you to Hammersmith.
395
01:04:16,148 --> 01:04:18,192
- [audience cheering]
- Thank you to Apple Music.
396
01:04:18,192 --> 01:04:20,110
Thank you to Aaron and the band.
397
01:04:20,694 --> 01:04:24,615
And I really appreciate it. Thank you.
398
01:04:32,331 --> 01:04:35,042
["The Hills of Aberfeldy" playing]
399
01:07:45,691 --> 01:07:49,695
[audience cheering, whistling]
400
01:08:45,292 --> 01:08:47,752
[cheering fades]