It's Only Rock n Roll with hosts Phil Blizzard & Russell Mason
"It's Only Rock and Roll" goes beyond the spotlight to reveal the fascinating stories of the unsung heroes who made rock's greatest moments possible. From groundbreaking concerts like Pink Floyd in Moscow during Glasnost to Wham performing at the Great Wall of China, this podcast captures a special time in music history through authentic, unfiltered conversations.
Co-hosts Russell Mason and Phil Blizzard bring complementary perspectives – Russell from his years touring and promoting, Phil from interviewing countless music legends throughout his broadcasting career. Together, they're creating a relaxed, nostalgic journey through an industry populated by unforgettable characters (many known only by their colorful nicknames).
Future episodes will feature tour managers, production crews, artist managers, record producers, and the legendary "liggers" (backstage gate-crashers) who defined an era. These are the people who witnessed it all – the near-disasters averted, the bizarre requests fulfilled, and the moments of brilliance that audiences never saw.
It's Only Rock n Roll with hosts Phil Blizzard & Russell Mason
Lost In France - Five Friends, One Bus, And A Film About Music, Grit, And Friendship
Phil Blizzard and Russell Mason meet a Scotsman, an Irishman, and a Frenchman for their journey to a tiny Breton, French town and reshape what a music scene can mean. We open the podcast in 90s Glasgow, where Chemical Underground helped a new wave of indie bands find their voice and their values. From cramped stages and borrowed gear to a label identity forged by conviction, the scene thrived on camaraderie, sharp taste, and the kind of local folklore that sticks—like loading out together after the last chord rings.
Then comes the leap. David, a young chef from Brittany with a burning love for music, invites the Glasgow crew to his rural hometown. One bus, a handful of fans, a chaotic ferry crossing, and a village square where cows outnumber people. It shouldn’t work. It did. Years later, filmmaker Niall retraces that journey, capturing a road movie that doubles as a time capsule and a mirror. Funding hurdles, music clearances, and the streaming-era squeeze haunt the edges, but what takes centre stage is trust: musicians, crew, and locals building something bigger than a gig.
Across Momo’s bar, impromptu sets, gear hiccups, and last-minute saves, the story becomes a study in how art survives. Alex Kapranos, Mogwai’s Stuart Braithwaite, Paul Savage of The Delgados, and more reflect on timing, luck, and the stubborn will to keep going. The film—Lost in France—shows how a village can feel like home, how a label can be a lifeline, and how friendships carry music further than any marketing plan. It’s funny, messy, and deeply human, with scenes you’ll retell and a spirit you’ll recognise if you’ve ever believed in DIY.
If you care about indie music history, Glasgow’s creative DNA, or the fragile magic of making something together, you’ll feel at home here. Press play, then tell a friend who still loves small rooms and big feelings. Subscribe, rate, and share your favourite Glasgow gig memory—we’ll read the best on a future show.
The movie - 'Lost in France' is available to stream on Tourism Cinema and on DVD from Amazon
It's Only Rock and Roll is a Phil Blizzard Radio Production - for your production email philblizzardmedia@gmail.com
So um welcome to this episode of It's only Rock and Roll. We love it. We're getting sort of full circle. We started off in Scotland with Stan Urban, rock and roll pianist, and we've gone full circle, what should we say? Pink Floyd over it in Moscow and back to Glasgow, the indie music scene, and in the mix, it's real melange because we've got food, we've got cuisine, we've got filmmaker, and of course, music holding it all together in a nice melange of uh various aspects. So, Russell, who we got lined up? Tell us, spill the beans.
SPEAKER_04:Well, to be honest, it's this is a fascinating one. Um, because like you said, we've got we've got all these uh interesting people again on our on our podcast, and uh I feel like it's a pretext to a joke.
SPEAKER_02:Yeah, yeah, yeah. Come on.
SPEAKER_04:There's a Scotsman, uh there's an Irishman and a Frenchman, and they walk into a bar in a in a little town in Brittany, you know, but uh it it's not a joke. Um, it's actually something that really happened, and it's really interesting. And you know, hopefully today, in this next hour, we can be taken through a journey with you guys uh that you embarked on well, 30 years ago, I guess, wasn't it, David? Something like that. Yeah, and um I would just like to introduce those uh those people first. Uh obviously, I was talking about the Scotsman, and uh, we've got Paul Savage, uh musician from the Delgados, and uh welcome. Um I mean, producer, engineer, record company, uh band leader. There's uh so many strings to your bow. And then we've got um obviously the Irishman I referred to, uh renowned filmmaker Nar McCann. Welcome. And um, we're gonna hear a lot about how you got involved. Uh, we will be starting 30 years back, and and we'll include you a bit later on. Yeah, don't think we've forgotten about you, but obviously you were there right at the beginning.
SPEAKER_00:Please do, please do.
SPEAKER_04:And then next to me, sitting next to me, my old friend uh David Sosson, who um he's the Frenchman and uh is our our French chef who keeps us well fed. Um it's you who brought the whole thing in the first place. So um, yeah, that's it, really. We're really pleased that you come on. I really appreciate it. Everybody's busy, and um uh's moving house and doing lots of other stuff as well.
SPEAKER_00:But uh and I've uh two very young children who, if they don't come running in, we'll be doing well.
SPEAKER_04:That's that's we we we're cool with that.
SPEAKER_02:So over to you, Phil. Yeah, um, Bonnie Tyler fans. Sorry, sorry, she's not appearing despite the title of this episode, Lost in France. But from France, let's go to Glasgow where it all started. And uh, we're gonna start with Paul, I think, really, because uh yeah, you give us a bit of an overview of the indie scene in Glasgow, the chemical underground setup. Was it a bit like uh what happened in Manchester with Factory and uh um the hacienda?
SPEAKER_05:I suppose it I suppose it was a little bit, and also we were very influenced by by factory records as well, you know, being big fans of Joy Division, New Order, yeah, that kind of stuff, and the the aesthetic as well as the music, you know, the way they presented themselves, um, they had a real identity, so you know we we we took a lot of influence from that, and I think in the 90s Glasgow Glasgow went through a number of different phases. I think the start of the 90s was dominated by Teenage Fan Club. I don't know if you know one of my favourite bands. I'm actually working with one member of them just now. Um they are like iconic in in Scotland, at least in the in the kind of independence scene, and they broke America really in like I think it was like bandwagon-esque, their second album, and it must have been around about 1991. So Glasgow was full of people who love Teenage Fan Club and kind of copied them, I would say. So the indie scene in Glasgow was got quite fixed, and it took a few years I'd say 1994, when we started playing, and other bands began to get a little tired of the whole scene being kind of mimicking the success that this brilliant band had, and started to celebrate the diversity that that was coming through. So people then began to say, Well, this is this is our thing, this is what we do, and we're not like anybody else. So you had like Alex in uh in a band called The Blisters, and Alex who went on to form Franz Ferdinand, he would be dressed immaculately in kind of an old 1920s suit with a pocket watch and greaseback hair, and then there would be Bis who were like cartoon pop, and then there was us who were kind of probably more American influenced, and and just a mix of different things, and people started to celebrate the fact that we were all beginning to be different. So that was the scene that that was just bubbling up in a few years.
SPEAKER_02:You mentioned a few bands there and uh people involved with the bands. Run through some of the others who were so important at that time. Well, in the in that scene, who would I say?
SPEAKER_05:Um it's hard to say. Well, just after we you know we got together as a label, we we we signed Mogwai. Um again, Mogwai were coming up as as just young kids uh playing these these venues that we played in, and uh they've gone on to be global success and still playing today, still releasing records. Um yeah, lots of other bands that you probably would never have heard of, but it was just a really, really amazing, exciting scene. And David turned up at that point in Glasgow because I don't know, why did you turn up? Okay, why did you come to Glasgow?
SPEAKER_06:To show you how to cook, yeah, to show the spotish how to cook.
SPEAKER_05:Yeah, well, I'd I'd I'd still mastering the idea of port noodles, so pot noodles, yeah, okay.
SPEAKER_04:Oh, so uh just a uh a little introjection there, uh Paul. So you were the the epitome of the struggling poor musician just doing it because you loved it and and kicking around Glasgow as you know, mates together, seeing the same old faces, you know, doing obviously doing different things, but you know, all the gigs, all the venues, all the punters, probably a little bit of following here and there, and yeah, that that sort of vibe, I would imagine.
SPEAKER_05:Yes. Oh, it was very much uh uh I I think it may be when when people are in their twenties, because I I look back now and I think, is there a scene like that in Glasgow? And the the the quick answer is for me is no, but I think that's unfair to the kids that are in their early 20s who do have a scene, it's just I'm not part of it anymore, and I think that's the thing, it just it does happen at a certain age.
SPEAKER_04:I I did something just sprang to mind which was um I used to every Tuesday night in London at a club called the 100 club, which is predominantly a jazz club, but on Tuesday night they opened it up for it was punk night, so UK subs, anti Noah League, Chelsea, uh Generation X, all that and I always used to volunteer uh in my the company I was working with at that time to go down on those gigs. No one wanted to do it because you get spat at and all that, but I loved it, I loved the energy, and used to there was a back staircase which was terrible butt loading, you know, and we used to set up there. And from the minute the band struck up, all the people who we all knew, all these people who probably hadn't eaten for a week, you know, with their spiky were on stage, and it was chaos, but it was great. And at the end of the gig, all the punters used to help us load out. It was talking about the camaraderie. You know what I mean? I mean, they call it cause us chaos, they'd be gobbing all over the place, they'd be knocking mic stands over and uh trunkets would go fly, but it was you know it there was still that respect and camaraderie. Uh, let's let's help them there.
SPEAKER_05:Oh, it's great to be part of a of a a kind of almost like a revolution. Yeah, certainly punk was. Uh I can't say our scene was in our little inner little circle, it was.
SPEAKER_03:It seemed like that.
SPEAKER_04:It seemed like that from what you're saying, and uh, I was telling uh David before, I sort of missed that because by then I'd moved uh when when your thing was happening 94 through to 96, 97, I was sort of uh in the golf um promoting bands, we were doing tours, you know, and uh uh so I was sort of out of the so I missed it a bit. So this is really very interesting to me. But I I just wanted to ask you, David, because obviously what Phil was alluding to then was you know, you turned up, you're training to be a chef, you don't speak much English. Um I don't speak English, you don't but you you also have a real passion for music, and you really got under the skin of this whole movement. Uh, and maybe you could just tell us a bit about that because that's quite interesting in itself.
SPEAKER_06:Yeah, I think it's starting first from where I come from. So I'm I'm from Brittany and from Moron, where where where we organize the festival. This is where you have nothing, you have nothing around. It is not a big town, it's very small, 3500 people. You have a lot of tractors, you tractors, and you have more cows than people living there. So, you know, being at about 50 kilometers from the big town, we had to go. If you want, if you like music and if you want to see bands, we had to do 50 kilometers to go and see the bands. So, start 90s, we were a group of friends going to Turen to this big town, and then start to see bands like and all these Brit Pop bands was coming coming on in early 90s. And then we said, Why not we do something ourselves? and we start to bring bands. So in 1922, I think we started to bring bands around, and and and I mean French bands mainly, you know. So we started uh quite small. We have been always small, but every year we were trying to expand. And then I had also my education, and I I was starting to to to grow as a chef and and work around in France in star mission restaurants and on. This music thing was more like camaraderie and friendship, and also passion about music, you know. Yeah, so really passion about what's coming what's coming on from UK and also what was good in France as a rock rock band.
SPEAKER_04:So so David the chef moves to Glasgow and also starts seeking out these all these bands in Glasgow.
SPEAKER_06:So I moved to Glasgow as a chef, but also in the idea to go to Asia. And people told me if you want to go to Asia, you have to speak English. So knowing nothing about Scotland, just knowing that it's in UK, I said, okay, I have an offer in Glasgow, let's go to Glasgow, and I heard about Glasgow in music as well, but not in culinary. So let's try and go. Then uh it's a French company called Pierre Victoire who bring me in, and then I started there. And being in Glasgow, first year I was there, I didn't speak English, but I think I went to see about 40 to 45 bands around and start to go and see bands. And at the same time, I told my friend in France, you know, in I was calling them in this uh red box at that time. We didn't have uh red box, yes. We we we was putting pounds and calling, and uh then sometimes you didn't have enough money to so it was stopping. So I was calling my friend and say there is so many bands around, yeah. And and I called my my uh my friend Bruno told me, bring bands. I say, I don't know, I don't know anybody, and I don't speak English.
SPEAKER_04:Well, I'll stop you there at the moment because we will come to how you got the bands in. But just out to all of you guys, um uh some of the iconic, I think they're iconic, some of the old venues in Glasgow in those days. Some are still there, some are not. I mean, I'll throw some names at you, especially you, Paul. Um, you know, there's obviously the Barrelans, you know, everyone knows Barrelans. Um, the Roxy, and one that I did a lot, which was the legendary Glasgow Apollo, no longer there, I think. Yeah, which with its 15-foot stage high. Yeah, if you ever went there, Phil, but the Glasgow Apollo had a 15-foot high stage. Unbelievable. But I thought it was I thought it was to keep everybody off the stage, but apparently it was a cinema before and all that stuff. But I I I have memories of Glasgow Apollo, how difficult it was to load in. There was like a ramp, and if if you if the flight case fell off this narrow ramp, you you and the flight case would end up in the store. I mean, do you remember all that? Uh Paul, especially the Apollo.
SPEAKER_05:Unfortunately, I never I never made it to the Apollo. I just missed it. Just a bit too young. But um, I am too old. I don't get to say that. I don't get to say that too often. So um, yeah, so unfortunately I missed it, but I've heard lots of stories, and I heard a fascinating story from a guy who used to be the crew, like the crew had a reputation at the Apollo, and you probably met all those guys. They were tough, like they were really, really tough. And the stories this guy, Brian, told me, were fascinating. The one of the most famous gigs uh at the Apollo was the ABBA show.
unknown:Yeah.
SPEAKER_05:Now everyone talks about this amazing ABBA show. In fact, ABBA might have even referenced it in Supertrooper. Because the first line is I was sick and tired of everything when I called you last night from Glasgow. That's in Supertrooper. But apparently, this show was was nearly off because the bouncers and the crew took offense to ABBA's quite hippie-looking sound engineer who was doing the sound at soundcheck and then decided to walk up into the higher stalls. And he was walking around with his long hair and barefoot, and one of the guys there, one of the big mean guys, was just like, Who the fuck is this guy? I'm gonna kick shit out of him. And Brian was just a young this guy that told me the story, he was just a a new, a new sort of like trainee, and he went up to him and was like, Please don't touch him, don't touch him. He's the sound engineer. Guys, I don't give a shit who he is. That cat that he's getting out of here, and he had to plead with him, they had to stop him, and and there was a an altercation that nearly happened, and the whole show would have been off, obviously, if they had beaten up this sound engineer. Um so narrowly avoided, but apparently that was what the crew were like, they were quite crazy.
SPEAKER_04:Yeah, but not only that, um uh Paul, sorry, and we do digress here. This is one of my digress. I remember because in those early days we never really had uh you know backers back backstage catering and stuff. So you you you you've done the loadout and you're starving. And in Sockey Hall Street, it's not the most wholesome place at two o'clock in the morning, as you no offense, but um, and and they I don't know if you remember, or maybe it went after the Apollo, but there was always a burger stand, a sort of 24-hour place where you could get a cup of tea and you get a burger, and we used to, you know, go around. And I remember wandering around there about like it must have been about two o'clock in the morning and uh freezing cold, and uh and this guy came up to me, you know, with a broken nose and forgive my Scottish or Glaswegian accent and said, Hey Paul, yeah, you wouldn't have a cheeky wee, then be for a cot of tea, would you? And I was so intimidated being a soft southerner that I like empty my pockets of my pants. Yeah, he was ever so grateful, but it was just the sheer intimidation of this guy with his broken nose, you know. Yeah, he probably had a few whiskies, you know, and uh, but it it was it was a lively place, and and uh some of the other gigs, I mean, I did Barrowlands as well, which is uh yeah.
SPEAKER_05:But the Barlands is is another fascinating place because again, that same guy who really should be on your podcast, Brian was telling me that he built the what is now the Barlands ex uh stage because if you know the Barlands, it was a ballroom, yes, a floated floor, beautiful old building, and but the the stage is the is the wrong way around now because the old stage was for a big band and it was a kind of tiered stage, and they built this fake one for a simple minds video, and that's the one that still exists, it was a makeshift, or we'll just do it for the shoot, and it's still there, and um the actual stage is the opposite side, so yeah, anyway.
SPEAKER_04:Uh Phil, I think we need to set the scene for this this film, and and yeah, I know, yeah. There's lots of talk about his next house.
SPEAKER_02:Absolutely, it's chemical records and uh that aspect as well. We'll come back to that a bit later on. But someone who's been waiting patiently in the wings, let's re-on board at last, Niall, filmmaker, and uh how do you get involved in Nile?
SPEAKER_00:Um well, I started making films in about 2012, and I'd made a film about I don't know if you know the artist, but Luke Haynes, who was in a band called The Ottairs, um called Art Will Save the World, was the name of the film. Um and really I I'm not very good at like you know being being very clever economically. So um I wanted to make films to celebrate the music I loved, really. Yeah, um, I didn't think about you know I was young, and like Paul says, it's different. You don't have the economic pressure that you might have when you get older. So I just wanted to make films about musicians I loved and you know, celebrate them.
SPEAKER_02:And um so I'd made a few examples of the people who you admired and made films of.
SPEAKER_00:Well, not many, but Luke Hens um from the autaires, and then um it takes so long to make a film.
SPEAKER_02:Sure.
SPEAKER_00:So like the Luke Haynes film took me four years to make, you know, from funding, you know, conception funding and then you production and then finishing it and clearing all the music, which is a big problem, especially now, um, because budgets have gotten smaller and um it's very difficult to raise the finance to to at least release music films um to a wide audience. It's very difficult. But um so four years for film. So I'm on to my fourth film at the minute, which isn't actually about a musician, but he did write about music, but um a guy called Mark Fisher. So I I've made three feature films, some documentaries for TV in Ireland, and uh quite a few music videos. Um but I take my time and probably too slow. Um so anyway, I've made the Luke Hens film. Um I was at a film festival in Lisbon and I was listening to um I realized I was listening to a lot of music from Chemical Underground, and we always did. I grew up in Dundalk, and um myself and my close friends were big music fans, and we loved Chemical Underground, we loved Glasgow music, not just Chemical Underground, but that was a big thing and what those guys were doing, and it was very inspiring. So um I was by myself at film festivals a lot, I was listening to music, realized I'm listening to a lot of chemical underground. I wonder is there a way of getting in touch with these guys? Um and I was at an Aidan Moffat gig, I think in 2013 in um Dublin. Aidan Moffat was in Arb's Drap who were on Chemical Underground, really important band. And um I approached Aiden after the the the gig and said, Look, and I used to do this all the time, um, but I said, Look, I'd love to make a film about you, you and the guys of chemical. And he gave me um he knew who Luke Haynes was, which helped, but he gave me contact and we started talking on the phone. I flew over to meet Aiden and he told me about the story about Myron, and that's really where the my part of it comes from.
SPEAKER_02:Yeah, yeah. And how did I mean you said funding is so difficult to get, and uh at that time, perhaps a little bit easier, but how did you get funding for this film?
SPEAKER_00:Well, this actually had a comparatively decent budget. Um I approached, I got I I knew uh a film producer in Dublin called Nikki Gogan. Um she works for Still Films, very um great producer, and she got in touch with Paul Welch's Glasgow-based Edge City Films. So it was it was a co-production between um Ireland and Scotland. But generally, what you do is you get a tiny bit of financing to make like a promo. So that's what we did. So um I got some money off Screen Ireland here. Um and I just flew over and met met um, I remember meeting Paul and we went to get food first time I met him, and um neither of neither of us eat fish, but we didn't want to see him uncultured. So we both met fish for dinner and then afterwards realized that neither of us like fish, and we only did it did it to not seem like an awful large person of you know, Laswegian person doesn't eat fish. I don't eat fish.
SPEAKER_02:We've got a chef here who probably does a lot of them on the cookie of chairs and some very fine dishes going down. Okay, you need convincing just on fish.
SPEAKER_00:I was at um in Athens with this film, and they brought us to like this really, really well nice Michelin starred restaurant uh for lunch, and um it was like 12 courses of fish, each of them getting progressively you know, more like crayfish or you know, those kind of kind of things. I ended up getting sick to the toilet because I didn't again I didn't want to seem sure you know, a culture to all these very cultured European filmmakers. That's probably an awful story to tell. But I I was there with Lost in France.
SPEAKER_02:Yeah, yeah. So Lost in France, I mean, the process of making the uh the movie, how long did that take? And what was the starting point?
SPEAKER_00:From 2013 to I think we we finished in about 2016. Uh I it was at Edinburgh Film Festival, and then we had a really big release in Glasgow the next year. Yeah, yeah, um, but yeah, four or five years, that's generally how long.
SPEAKER_02:There must have been some uh high spots of the making and low spots and uh in between a lot of funny aspects to uh to be working with within.
SPEAKER_00:Well yeah, the guys are great, and um but it changed a lot. So, like initially Aiden was my way into the story, Aiden Moffat, but he had other commitments, so he had to um he couldn't be be involved in the film directly. So I kind of had to change tact then. And um, I remember having a meeting with Stuart Henderson, Stuart Brayway from Mogwai. Stuart Henderson um founded um Chemical with Paul um and a few others. Uh Paul, you weren't there, I don't think, but it was in Nice and Sleazy's a very famous uh bar on social uh um where's the poll? Sorry.
SPEAKER_05:I saw the famous Sokyoshi where Paul was and yeah and at the time around 20 2014, around then, it things were quite precarious, I think.
SPEAKER_00:If it's rare to say Paul in the music industry, and things from chemical underground, maybe the future at the time didn't it was un unclear how it was gonna go. Um, and I realized that not only was David and Paul and and the other guys' story like just a very inspiring story and wonderful story, but it also tells you a lot about how things have changed. And I thought it was bringing these guys to France and away from Glasgow might allow for things to you know become apparent to them, maybe. And um not only it been a nice journey to go on, it becomes a road trip movie then. Um it gives them the space from from Glasgow to you know think and talk and reflect, you know.
SPEAKER_02:Yeah, yeah. What was it? I mean, a road trip, as you say. So from Glasgow to this little town or village, in fact, in Brittany, northern France. Yeah, what was the reaction when they got there?
SPEAKER_00:What was the reaction from the everyone uh David and all the locals they were amazing? They were like really, really incredible. And the welcome we got was just out of this world. We were in the local paper and stuff, you know, it was great.
SPEAKER_02:Yeah, yeah, yeah.
SPEAKER_00:And I think there was like a you know, one of those signs that's at a pub saying in French, the Scottish are coming. Um it could it couldn't have happened without you know, obviously David, huge organizer on the film and on the original tour, but as well with all the people and um Mo Mo and the local pub where we shot the most of the film, you know, it can't have the thing, you know, it takes an army to make a film, um, it's not just one person.
SPEAKER_02:So um how would you sum up your connection between being the filmmaker and the guys in the band? I mean, is that was there a good synergy? There must have been.
SPEAKER_00:Yeah, with most of them, I think, yeah. Certainly for the filming. Um one of the best things about making films is certainly about people you know that inspire you or you're fond of their their art, is that sometimes you meet people and they're really lovely, and Paul is one of those people. Um and I'd like to think we're still good friends, although life comes along and now a year goes past, like a month, you know.
SPEAKER_02:Yeah, yeah. But um Paul, what are some of your main recollections from the process of uh creating and making the film and being part of it, of course?
SPEAKER_05:Well, uh the surprising thing for me was I remember being being I think Aiden introduced us and then we we started chatting, and I don't think I understood anything about what the film what Niall wanted to do. So I was very quick, I was quite skeptical, I think. Yeah, before I met him, you know.
SPEAKER_00:And everyone like if someone wants to make a film about you, the correct response is to say no. Yeah, um, because a lot of films are really about like trying to, you know, the way everyone's obsessed with trauma now, you know. It's like everyone has to have a sad story. Um, and I don't think this is a sad story, obviously it's not. Um, but I think it's normal to have that reaction that Paul and Sure and them had, but I think that was tempered as well by the fact that they didn't know. Like I think I think at the time, like it wasn't really clear what would happen with Chemical.
SPEAKER_05:No, I mean the the label was um the to be honest, the label we've never really been funded, we've we've always been independent, we've always been willfully difficult people, you know, not always choosing the right path for commercial things, or we've always done what we kind of just wanted to do for better or worse, and I think at that point we we were in one of those pretty bad shapes. We were we were like we were readjusting to the the world of I suppose streaming, which has decimated the music industry in a lot of ways and changed the world uh of music in quite a profound way, and we were probably trying to adjust to that and finding it difficult, and Stuart was finding it especially difficult. So I I when Niles said I want to make a film and I want to talk to you about it, okay, I was you know interested in speaking. So we met in this we met in this cafe for a coffee and um Started to explain about the idea of of of Moron and and this trip. So we haven't actually talked about it. The first trip was 1997 when David managed to get a whole load of the Glasgow scene on a bus to go and drive down to uh was it South Portsmouth, Portsmouth, and then over to Samolo and then down to Moron to play in this little festival. Now the idea also, which was really this is one of the things that that kind of came to me when I was talking to Niall about it. He says, I want to talk about Moron. And I went, Yeah, okay. Uh and I hadn't thought about it for years. You know how absurd it was because all of the bands that were involved had got bigger and bigger and bigger. To the extent that the idea of doing it on a single bus, like not a tour bus, just a single decker bus. And it was also kind of partially funded by saying to anybody that might want to be want to come along, like any fans of the bands. Do you want to come along? It's like 50 quid, you know. You'll get the bus down with the bands, you come on the bus, you'll be there for like two or three days, we'll drive you back. I mean, it's like insane. It's like the whole idea is just mad. And then when we started talking about it, I realized that, well, yeah, Alex was in the blisters, but now he's like in one of the biggest bands in the world with Franz Ferdinand and Mogwai have you know done what Mogwai had done and just kept on getting bigger and bigger and bigger and toured all over the place. Delgados had done okay as well. After that, we'd we'd we'd done, you know, Mercury nominated and did five albums, toured the world, Arab Strap as well. You know, so I began to realize that all of these kind of bands and part of the scene just exploded, but at that point we were all still small enough to say, Yeah, I'll go, we'll go on a bus. It sounds like a laugh, we were all pals, and it was absolute chaos. It was so it's the craziest thing I've ever done, and what an amazing weekend, and what a one-off, it would never have happened again. And Alex alludes to that in the film. He said if if it was like three months later some of the bands had got bigger, and it would have been difficult to make and I'm not saying it because of egos, but just the size of the bands were just getting bigger. And it was the right spot and the right time just to get everyone, yeah, we'll come on this bus. And and no small part to David and his way with people, and his way with we'll get round that, we'll be fine, talks people down, makes things happen. Um the fact that we got into France is down to David because we were almost sent on the first ship back to the UK because we had destroyed the place. You know, there was chairs thrown overboard, people missing. The the bar was like we were the last people in the bar. We'd we weren't necessarily we weren't aggressive in any way, but we were just out of control. And we'd convinced the port authorities to let us out to France.
SPEAKER_02:I think Russell, you got your personal chef by the side of you. Let's find out what ingredients he sort of put into the recipe for this.
SPEAKER_04:Well, I I think I think um thank you very much, uh uh Paul for bringing us back to actually talk about the film is actually about something, a reenactment, really.
SPEAKER_02:A reenactment, yeah, sure.
SPEAKER_04:Something happened yeah, the 20, 25 years now, 30 years before, and uh trying to recreate that. And I after that, I'd like to follow on a question with you, Nial, about uh a few things related to that. But but David, I mean, in those days, to put something on like that, I mean, what sort of age would you have been? 20? Uh 19, yeah, yeah. I think, and I really I really relate to that because at 19 I promoted my own concert and in a local Catholic church hall, which turned into a disaster because the the Catholic priest didn't realize that it was um a rock and roll band, and um uh I'd I'd I'd got the dry ice out of control, which is a mess on the on the stage floor, it was all slippery and there was smoke. I had another electronic smoke machine which had gone out of control there, so you couldn't see the band anywhere. And in the middle of it, this priest who had been drinking and was was pissed, came running across, slipped on the stage, and basically closed down the whole show. That was my disaster, my first one. But this was obviously a great success. But weren't you a bit daunted by that? I mean, that the whole point of bringing this band, it's a lot of responsibility, but I guess you have that same thing at that age, and the same with the bands, where there's sort of no fear, it's it's a sort of uh you you just you just want to do it and you do it.
SPEAKER_06:You don't look at the consequences, you don't look at what could go wrong. Yeah, but it it's more than that because you know I it was a risk and not a risk, because uh at the same time after I met uh Paul and the guys of the Delgados, I met them in 1995, and I told them, okay, we organize a festival. I I saw them in the Barolans. Uh they was uh supporting Mercury Rave and Pavement, uh American bands. And uh I went to see them and said, I want to bring you to France. And then first time I met Paul and Emma, I think they was looking at me and saying, What is saying this guy? Anyway, we started to to me, and then uh we learned how to know each other and and we we became a friend. Then I bring them to play in France in 1996. So I bring them to Moran. It was our first time that we were bringing bands from abroad, and they were supporting wedding presents, so from Leeds. And I I told them we are bringing as a headline a wedding present. Do you want to to support them? And we will do few few few concerts for you. And I think, Paul, it was the first time that you were coming in France, correct? Yeah, yeah. So I and I think I organized like two of the gigs. It was also uh this would take too long, but this was also in the pubs, it was dogs uh watching the the concert. Uh I mean it was also very funny, but um we we it was not too much a risk because I knew them already. I knew most of the bands of Chemical Underground, and I mean all my weekends or time off, I was so you felt comfortable with yeah, yeah, yeah. I was giving hands as well in Chemical Underground, and we were mixing a lot, and we were sticking labels on records of Arab strap. I remember the first Arab strap single, um, was putting labels on it, and then you know it was more about friendship and passion. Yeah we were meeting in a in a in a in a pub called uh 14th note where uh you had uh Alex organizing a club there, and then all the bands of Glasgow was going there. You have Bellon Sebastian and and the Delgados, Bis, the Pastels, I mean I could say hundred of bands going there. I mean, everybody was you know meeting together, and I was very much Moguay was coming up, so it's people you were seeing on a day-to-day basis. It was like very simple, yeah. So because you felt comfortable with those, yeah, yeah, yeah. And when I started to say, I want to bring you all there, we had a meeting. Uh, I think Paul was not there. I think Paul was not there with Alun and Stuart and Emma, and said, David, you did it last year. Are you sure you can make it? Say, yeah. So the guys of Mogui was there, and then it was uh Alex who was there. They look at me. Okay, if Alun and Stewart, okay, we go for it.
SPEAKER_04:Do you think, um, uh uh Paul, there was a little bit of naivety on David's part. It was like he threw a hand grenade in this hand grenade of all these. If the bands are all this is a hand grenade, he threw it into a bus and said, I'll see you the other side, you know. Yeah, hand grenade of like youth and craziness and shit.
SPEAKER_06:And and they told me, how are you going to fund it? Because the deal was I bring you over, I take care of everything the booze, the the no fee. So this was the and the guy said, Yeah, let's go for we can all together. I say, Yeah, but I have 60 seats, half of the seats, I will sell it, and they will start to to fund the bus because I had to pay for the bus, of course, and actually pay the bus with my salary, yeah, to start with. So I went to put the deposit, I took the bus, and then uh uh we so each band I think had to bring like four or five people to make sure that they funded themselves. It was a bit like this right, Paul.
SPEAKER_04:So so so I think I think I I think the uh we could do another episode on that on that bus and the ferry in general.
SPEAKER_02:Uh very early days of crowdfunding by the sign of it, in very unique manner. Very unique idea, yeah.
SPEAKER_04:But uh what are your recollections? Because they're just to digress again a little bit, there is a very famous, uh infamous um uh certain mommel uh in uh in Moron. And my friend uh Ian by chance bought a house near Moron. And and and David immediately dispatched my friend Ian, who likes uh he likes a beer with a friend, you know. And uh the next thing I get all these pictures of Mormons and and Ian, you know, like with 10 10 10 beers lined up and uh having a really good time, and no, no English spoken by Momore, but they they seem to manage quite well. What are your memories of of the famous Momore and his cafe? And which was a central part in the square there, no?
SPEAKER_05:Uh yes, there's I mean it's it may as well be the church, yeah next to the church, but it's it's probably more important than the church. Yes, um, so and he's the priest. So when we first went there, I think the first thing we do is we go to and we meet Momo, and we all have a drink, and over that weekend he's a kind of central character because it's the bar that everybody goes to and and and has a drink in. And over the years I've been to Moron when David got married. I remember like seeing all the same people again. This is these people are like family, you know, to us, you know, like you know, David's family and and and um Momo and all the rest of all the people that organized the the festival, uh Bruno, uh you know, Xavier, you know, all the people that were part of uh van. You know, myself, David, uh Erwan and Xavier and my brother Scott, all of all of whom were at the first festival. We go away at least once a year to see a gig somewhere randomly. And we're going next week, is it? We're going to Lisbon to see the hives. So we continue this tradition of uh, you know, so these people are not just like you know, we see each other as much as we can now.
SPEAKER_04:That's that's brilliant, and I do know about these these uh these trips that you do. Um, Nile. So I think now we're piecing together very clearly why you were attracted to this story because it it is a little bit different from the norm, I would say. And what I gather from the film is you manage to very cleverly, or let's let's say cleverly, but maybe by pure chance, uh extract from these guys um some very personal feelings and and and uh something very special in this movie. Uh, can you maybe elaborate a bit more on that and how you what was it was it by chance, or is it we'll I mean we'll give you brilliance if you want brilliance, but I think a bit of both in that.
SPEAKER_00:Yeah, chance is a big thing, but I think trust is really important. And as you spend more time with people and they get to know you and they become more comfortable. And I think as I said, when we got to Mehron, I remember the the general feeling of everyone shifted because it became like a celebration, and they realized how important that moment might have been in a way that they didn't previously. Um, because they were coming home to like when it's at the end of the film, but the bus comes into Merron Square, and to get a hero's welcome, all of them. You know, um, and there's something special about that weekend, I think, in a way that it couldn't really happen now. And I'm not sure that someone like David in the same way I mean, David, but like someone and maybe even making the film I made. I'm not sure it would be a lot more difficult now in today's environment with funding and stuff. Like things are shifting all the time. Um, and you know, Alexis Kapranis in the film talks about the importance of the welfare state. And if you look at it to a space for people to to make art and to do things, um, and all that, you know, also for people making films, and a lot of stuff has changed. Income revenues of obviously in the music industry are different. So, yeah, I think it was a really important time. And what I love about what the guys have done and Paul and Chemical have done is that they've persevered, like they didn't give in, you know. So at the end of the film, there's a kind of precarity about the future that um that they manage to get through and find a way to adapt. Um, and I think that's something to celebrate. But like, really, as David said, like the film is about friendship, you know, it is about all those other things, but ultimately it's about friendship and making art and people doing it not for economic reasons, doing it because they need to and they have to, you know.
SPEAKER_06:Yeah, you nailed you you manage also to include the crew into this. I mean, yourself and people in Moron, uh of course, us we we we we we knew each other since long time, but you managed to put everybody on uh as a team, yeah, yeah. One team, you know, yeah, yeah, yeah. Was not on the tide, or it became that weekend, it became because they were all in the same accommodation, yeah, on the one house, yeah, yeah, to be honest, and with people in town, you know, doing or catering and people in the house the whole time, and like there is that you mentioned chance, but there's that organic thing of like the the gig in in the bar was not planned, so that happened when we were in the house.
SPEAKER_00:You know, people started talking and we said we'll do this. So, like the night before the gig was supposed to happen, all the amps that were supposed to come got cancelled. I remember that. I remember talking to the producer.
SPEAKER_05:I didn't know that.
SPEAKER_00:Yeah, yeah, yeah. The guys from um um yeah, Holy Menton came up to me, they were organizing it and they were they were like the the gear is cancelled, it's not coming. And I was like, fuck it, you know, because we we couldn't go back, we're not gonna leave Miller on and bring everyone again in. And I honestly thought the whole thing was gonna fall apart, but I think the um um um somehow we managed through David. Was it Bruno or someone?
SPEAKER_06:Yeah, yeah, we formed the way we formed the way.
SPEAKER_00:Yeah, um, and I I remember myself and Nikki, and um there's a scene in the film where uh we go to visit the golden tree, David. Is it the golden tree? Yeah, um, and Nikki left all the petty cash we had to pay for everything in in the park, in the car park. And we realized when we were like 30 minutes down the road, we went back and was still there, thank God. Um but you know, like but things when you're making anything, things can fall apart at any time.
SPEAKER_06:Each time that you were coming, an issue said, No problem, don't worry.
SPEAKER_00:We would that's what the that's what the V's great at, you know, like he fixes stuff.
SPEAKER_04:Yeah, yeah. He's still doing that in his job now.
SPEAKER_00:Yeah, I can imagine, yeah.
SPEAKER_04:So um yeah, come on, Phil.
SPEAKER_02:Yeah, no, I was gonna say it sounded like it had to be very spontaneous, nimble, work very quickly because you didn't have a luxury of a long time frame to recreate uh new scenes, new settings, and get kit in.
SPEAKER_00:Yeah, so yeah, I think we're there for about a week, and then there were shoots in Glasgow and stuff, but uh yeah, we're in Myron for about a week, I think.
SPEAKER_04:Yeah, brilliant, brilliant. So um I have to ask this question. I mean, obviously, the film's you know been a great success. It's a little time now, uh, but grateful that you've come on to share it again with us and our listeners and viewers.
SPEAKER_00:Oh, thanks for asking.
SPEAKER_04:Um, and uh I I just you know, if you haven't seen the movie, try and get it. How how can people watch the movie now?
SPEAKER_00:You can stream it on um Tourism Cinema. Um you can stream online on their site. Amazon have loads of DVDs of it, I believe. Um you can order it, it's it's not expensive. Um yeah. Okay, I'm not really sure. Like I think, yeah, it it's online, it's streaming online, like any of them. It's not on Netflix or anything like that, but it's you can stream it online. For small fee.
SPEAKER_02:What was perhaps the uh well some of your highlights of uh completing the movie, delivering this project? What was some of the highlights for you?
SPEAKER_00:I d I didn't think it would happen. Um my favorite moment when we were filming, well, one of my favorite moments apart from the concert, which was incredible. Um, you know, it was once in a lifetime kind of thing. But um there's a bit at the end of the film where Stuart Henderson kind of realizes that the original trip was important. And I think that was important for Stuart, but as well for the film because it gave me a kind of ending, you know. Um but yeah, it was just seeing these guys, well, getting to know the guys was really important, but just spending time with them and watching something I thought really special happen while we were there. Um, and I like it being there as well in Stuart from Mogwai and stuff like that. We couldn't bring everyone back, which was unfortunate. But I remember when we all got there and I went, I can't believe this is happening. I really can't, you know. Um but a very preventative film. Um and it's a little things I like as I've gotten older, I think are important. You know, friendship, nice memories, and music, you know, and art and making art. And it's really celebration of that. And what David did was making art, what Paul does is making art. It's all about creating, you know, an environment where you feel you've achieved something and doing that yourself, and all these people have done that. Um, and I think that's something to celebrate, you know. Absolutely, yeah.
SPEAKER_06:One of the easiest one to bring at the end was Alex, huh? Because he said yes straight away.
SPEAKER_00:Alex said yes straight away, and I think that was key to the funders going because there's commercial pressures, you know, and like it's about you know getting interest in a film, and Alex is is quite famous. So when he said yes, I knew that well, I think this will happen.
SPEAKER_04:But but in fairness to you, and I don't want to embarrass you with this, but uh I think what you managed to achieve, and like it go back to what I was saying a little while ago, is you know, you were lucky in some way that that there was this uh evolution during the movie where you actually got out of people some very interesting things, and not only a bit of discovery for themselves, but also during the movie. Yeah, and it was definitely you know very well put together in the end because it was a real life story, yeah, yeah. About real people and real things, and I think the underlying thing was camaraderie and you know, love, love for what you do, love for each other, and I think I think that came across very well. And I I must congratulate you for that. Um, and thank you for all the participants, and uh yeah, right to be proud of it.
SPEAKER_00:Uh but um I think it's very funny as well. That's one thing about Glasgow. Oh, yeah, oh yeah, because life some of the and some of the stories uh you know, like Stuart Henderson standing, you know, out of his mind, drunk, looking you know, side of the road and just falling back into a ditch, you know. Um because people, you know, when you're young like that, and you're just that was the you know, when people are young and these guys went on this trip, like the the stuff they were doing was crazy. Yeah, and some of the stuff we didn't put in the film because it would incriminate people, but yeah, um you know we like to see the outtakes, you know.
SPEAKER_05:Yeah, um well there was for the there was at that point when we went over, part of the reason we went so crazy on the boat was I think Mogwai had been to to tour Norway and in Norway the alcohol was very expensive, and um so the kids had invented these interesting ways of getting getting alcohol or or making the most use of it. One of them was they said you s you don't drink whiskey, you snort it. Which is insane, but that got round on the boat, and we were all we didn't have much money, so we were all buying whiskies and snorting it on the boat. I don't know, it's it's insane, it was and no wonder some chairs went missing.
SPEAKER_00:And someone did someone said it was cold sitting up in the deck so to put a bin on fire.
SPEAKER_06:Yes, yeah, yeah, yeah. That was cold by the captain, by the way. Yeah, yeah, two o'clock in the morning and speak with the captain.
SPEAKER_04:That's that's rock and roll, real rock and roll for you, guys. Uh Paul, um and I uh uh what would you say you've got out of this film, really, as far as um the film's been made, it's it's it's a great success, and you're all very proud of it. But you know, how how has it changed things for you and what you do?
SPEAKER_05:Um I think it's made me appreciate some of the things that we do. I mean, I don't want to sit still and just look back, but it it has made me realize it it gives me a bit of perspective on the the way that the industry is just now. Um it is difficult, and we were very lucky at a moment in time uh to do that. But actually the making of the film brought uh a kind of realization of what things we should be proud of. Um as a label, we're not very good at looking back, um but bringing us back together with David and getting to see all our friends from Moron was really important. Meeting a new friend in Nile, which we still, you know, again we don't see each other that often, but we keep in touch and we you know we chat. Um and that that's kind of that's important. That's it that's essentially what the film is about. It's also that's all that's also a big part of it moving forward. It hasn't just disappeared. I mean, I'm seeing you know the fact is I keep on we keep on trying to make you know a trip to Ireland happen and to see Nile um and we talk quite regularly. So and um I've been friends with David for over 30 years.
SPEAKER_04:Um don't don't don't you think Paul? Uh I've sort of uh I'm I don't know how you old you are, but I'm 65 now and I've retired a couple of years ago, and I I really become quite nostalgic about things. I start because I've got more time now, I start to think about you know what, how the hell did we do that? That was crazy. Wow, that was and it's it's pretty nice actually, and I'm totally un, you know, I'm not ashamed of it to to look back with fondness. Yeah, that was then, it's different now, and we live in the now, we live in you know what we're doing now. But is it's not so bad to look back and be grateful, be thankful of these things. And uh what what about what about you, Nial? What what's it done for you? Do you feel what you know that you same question really?
SPEAKER_00:Yeah. Um well, it's that thing you said there of looking back and being proud. I'm very proud of the film. Um it I'm not sure it set me up for a great career, not because of the film, it could have done. There was other things going on at the time where maybe I could have gone on to make certain documentaries that I probably thought of, you know, like big names, maybe, but I decided to make something about um that I was interested in, and I'm still doing that. Um and I said at the top of the show, it's never really been about a career or making money, and I'm not a professional, I just want to make art, and I want to make art about things that I'm interested in, really. Um and the most important thing is being that thing, again, it it does sound silly, but it is about friendships and what has come out of it, you know. And you know, I really love Paul, I love the uh David, um, and being involved in that whole process, and that's why, like in the film you'll see the crew the whole time, the crew filming and stuff, because it's about it's not just the film, you know, it's about the making of the film, it's about this idea of community and people doing something like this together. Um and I'm I am yeah, I'm really proud of it. And it did, it allowed me to make more films, like that's true, but films I wanted to make, you know. Um, and it taught me that well these guys taught me that like you know, if you push and don't give up, sometimes you'll get to where you want to go. Not always, but like it's the it's like the the journey to Myron. Sometimes the journey is the important thing, you know?
SPEAKER_03:Yeah, yeah, of course.
SPEAKER_04:You know, so David, yeah. David, you obviously, I mean, guys, David's passionate about music, still passionate about music. I mean, we we we share bands and music, we we enjoy a lot of the same type of music, and uh but but David, you I mean, the guys also I'd ask you. I mean, David's had an amazing career since since all this happened, yeah. Which has got nothing to do with it, but I'm I must mention David. I mean, last year, maybe you just quickly tell us. I was so impressed and so proud of him, even my daughter's so proud of David, where he he won best chef in the world for whatever what was it? Yeah, best airport chef in the world, and you know, we're all so proud of what he's done, but it's totally different from music, but he's still got that passion, you know, even though in his his personal career he's he's excelled from being that trainee chef or whatever he was in Glasgow, not not knowing any English to learning a little bit more English now.
SPEAKER_06:He speaks a little bit more English, yeah, because big partly because of Paul, you know. Because uh I I went on tour with Adelgados and then he was teaching me about uh about English. He was not leaving me alone when I was driving. I kept you away, that's right.
SPEAKER_04:Yeah, so so all in all, I think uh I think you you touched on something that's really, really very important, and uh I just want to uh bring that up actually because I think we're coming sort of to an end. We've gone off. There are a lot more things I wanted to talk about. I mean, Nal, I wanted to talk about going back to live, you know, with your parents at 30 and picking up those those records and and thinking you possibly your career was on the rocks.
SPEAKER_00:Well I rem I remember Aidan uh Moffat, um, who like to me was was this massive you know uh star, and he is, but like I remember my mom coming up to my room saying there's some guy from Glasgow on the phone. For you, you know, really weird. And even him phoning the house phone.
SPEAKER_01:Yeah.
SPEAKER_00:Like, we don't who does that now? But um, yeah, but it's that thing of you know, when you find yourself in a certain spot and just it's that thing I said about yeah, you know, keep going.
SPEAKER_04:I mean, that in itself, I I love reading about that, you know, because everyone's been through that. We've got a uh future uh podcast with with uh a person I I he was a he was a starving musician back in the 80s when I knew him, and I've recently caught up with him again. And um he he he gave up. He just that's it. He was in London from Sheffield, uh, went back up to Sheffield, gave up, went to live with his parents, uh, got a job job as a postman, and a couple of years later, someone said, You know, you're mad, give it another go. He's still in his 20s, went down to London. Um, some funny stories about how it happened, um, and ended up producing the Spice Girls. You know, it's like it's mad.
SPEAKER_02:Yeah, amazing, amazing.
SPEAKER_04:What I get out of this, and I'll just share this with you for what it's worth. Um number one, uh, you've got to follow your dreams. You've got to follow your dreams. And I encourage my kids and my daughter's a singer-songwriter, follow your dreams. My son's a professional footballer, follow your dreams. The most precarious businesses you could probably be in, except filmmaking. And uh my younger daughter, I don't know what the hell she's gonna do, but you know, follow your dreams is is number one for me. Um, don't give up. You mention it, you know, just don't give up, just keep going. It's you you're gonna, and actually, the times that you're down actually give you more ammunition for the times when you're up, you know. I if that makes sense. Um, and all things are possible if you put your mind to it, they really are. Um you know, friends, number four for me is friends are so important in all of this big journey that you go on, the camaraderie. We're we're in this together, they pick you up when you're down, you pick them up when you're when they're down, you know, and uh and the most important thing for me, which is great, and I love doing these podcasts, is is is it's fun and have a laugh because come on, don't take yourself too seriously. And you guys uh the epitome of that, you know, in the film and the movie, it really brought that out for me. So thank you guys for that.
SPEAKER_02:And uh that's that's now now I want to come in with uh something for Russell and David, and uh David, first of all, congratulations on winning the World Airport Top Chef Award last year. But I mean it's it's more than that airport. I mean, you were telling me earlier you've got what 600 back of house uh staff to look after, 28 outlets. So yeah, it's a massive, massive operation. Yes, it's very big. We have 72 of them. Yeah. Now, the guy on your on your left, the guy on your left apparently is a bit of a chef at times, and I'm trying to put this into context for me. It'd be so daunting. World top chef there. Russell does a bit of cooking for you when you visit. How is he?
SPEAKER_04:How is he? When he comes to my house, I'm so intimidated, and he's either incredibly gracious or a brilliant liar because he suffers by cooking uh so much. Your cooking is good, yeah.
SPEAKER_02:Does he go beyond baked beans on toast? Yeah, fantastic. Okay, excellent, excellent. Well, as Russell said, thanks to everyone for joining us on this podcast, and uh, really unfortunately we're coming towards the end. Um, but a question which I'll put to each of you, and um, what's perhaps been the most standout uh moment for you regarding this project over the past 20 years? What stood out most for you, Paul? You mean uh to do with the film or yeah, yeah, yeah, yeah. Over the last 20 years, I mean, yeah, we're focusing on Lost in France project. Yeah, uh, let's see. Um yeah, right from the beginning from going there first of all then to the reenactment and everything else. So what stood out most for you, Paul?
SPEAKER_00:We should mention the the premier Glasgow Film Festival and the band.
SPEAKER_05:I was gonna say that I would actually that crossed my mind that the culmination of not just the film but the the the other thing that we managed to do was was was do a show at the ABC in Glasgow. Which burnt down. Which burnt down, yeah. It was burnt down just after it. Yeah, and um we was that your was that your parties? Was that your G Russell? Yeah, that was because somebody set a bin on fire. Yeah, follow on for the boat. Yeah, so we got together, we we we made this band, this kind of band of myself, Alex Capranis, Stuart Braithwaite, Emma, and Hubby, yeah. So yeah, it was and we played lots of different songs. I was terrified. I had been you know, I was the drummer in the Delgados from 94 to 2005, and then I stopped I I stopped playing live. I didn't do any shows until the film. And there's a moment in the film where Alex says to me