Rip Up the Road (2019) - full transcript

Being in a band, it's
kind of like a cyclone

that picks up more and more speed

the deeper you get into it.

It can be the best time and
it can be the worst time.

It can feel like you're literally

tearing pages out of
On the Road by Kerouac,

and other times it can feel like

you are in a tiny little prison

that's being controlled
by some faraway forces

who are just stuffing more and
more inmates into the prison

until there's none of you left.



Thankfully, those feelings

are kind of definitely
few and far between.

- It's like a fucking end credits
montage-like strobe effect

photographs of like backstage
parties, and then shows,

and then people's faces, and
then fucking drinks, and drugs,

and beaches, and hotels, and vomit.

You know, it's like everything.

It's like full exposure to life.

- Being in the band's the
weirdest, best thing in the world.

Shows can feel emotionally charged,

or you can feel absolutely nothing.

You an be tired all the time for a week,

and then you might have an
absolute burst of energy,

and you will go on an adventure



somewhere that you've never been to before

and create some stories
that you'll remember

for the rest of your life.

It's madness, and it's also rejoiceful.

It definitely makes you feel
very alive and dead inside.

- I mean, of course it's not sustainable.

I don't think anyone doubts that.

And it's quite easy to
find stories of people

who toured hard and then have hit a wall.

- It is a circus, isn't it?

You have all these different characters,

and like no one is normal.

No one who's been touring for 10 years

can describe themselves as being normal.

- If you are in a band, like we are,

and most of your peers have
decided to call it a day

for one reason or another,

why is it that you still do it?

Like how meaningful is it
to be a musician in 2019?

Is there like a wider purpose to it?

And maybe there isn't, but like ...

I'm gonna figure that out.

- The writing was kind of
the lowest point for me

in the band's history,
because of Wally going,

I think was a catalyst.

It was pretty much my worst
nightmare, and it happened.

And, you know, it happened ages ago,

so I was prepared for it, I think,

until we got into the writing room,

and I was just like, "Fuck.

"I really, really miss Wally's presence."

I was like, "Oh God, I'm
alone with these guys."

(chuckles) You know?

It was like, "Where's the other guy?

"Where's the nice one?"

- [Edwin Congreave] We all
moved to be in the same area,

to be sort of centered
around the studio place,

partly so we didn't
have to travel that far,

but also kind of to hang out,

to be be sort of glued together socially.

- We took a bit of a risk
with producing it ourselves,

with Yannis taking the helm,

but it's really felt like we've breathed

some extra, fresh energy.

- It was a period where
the idea of making music

was the furthest thing from my mind.

I had never really felt like that before.

That period was the longest period

where I haven't made any music.

I just felt like I'd become
a bit predictable to myself

in terms of what I was writing,

and I found the band in
general, like the dynamic,

was very well-worn in the grooves

and the ways in which
we work were predictable

and that we needed to undergo
some sort of violent change.

♪ Don't look at me like that ♪

♪ Don't look at me like that ♪

A day's just one big long frustration.

The amount of caffeine I've had

means I'm always getting tripped up by it.

- Yeah.

I think it's time you had a chamomile tea.

- I wrote every lyric on
these records in a pub,

in a pub garden usually.

I wasn't aware of it at the time,

but looking back on it now,

I'm sure the record would
have been very different

had I locked myself in a room upstairs

and written in isolation.

I think by writing
surrounded by your peers

in a communal space, it only ...

It propelled me into wanting to write

about themes that would connect us.

We're in this kind of
perilous or precarious state,

facing these huge monolithic challenges,

and that society's going
through this huge transformation

that we're not even aware of fully

the ramifications of it.

So I wanted to write about
that sense of confusion

in the sense of being inside some sort of

M.C. Escher-like labyrinth of
change and turmoil and threat

and for it to be set in the here and now,

and I wanted the songs to be understood.

I wanted them to be directly communicative

to the outside world.

- Blen fire, blen fire, blen
fire, blen fire, blen fire.

Blen fire, blen fire, blen fire

- Holy shit!

- Let's fucking bang it.

Let's bang it.

♪ I got to rip up the road ♪

♪ I got two nights in a row ♪

♪ Oh we gon' put on a show ♪

♪ With the black bull in tow ♪

♪ I'm in a Holy Ghost zone ♪

♪ I got a trunk full of gold ♪

♪ Don't look at me like that ♪

♪ Don't look at me like this ♪

♪ Can you remember my name ♪

♪ I swear you're all just the same ♪

♪ Oh tu parlais Anglais ♪

♪ Can of Stella fish filet ♪

♪ In a foreshortened future ♪

♪ I saw you drink your kombucha ♪

♪ And it really don't suit ya ♪

♪ And I'm not the waiter ♪

♪ Ooh ♪

♪ Black bull's in town ♪

♪ We not playing around ♪

♪ I call a wolf a wolf ♪

♪ This is for real ain't no spoof ♪

♪ I'm breaking bones on the roof ♪

♪ Who me I'm not aloof ♪

♪ Forsooth for shame ♪

♪ I done conquered where I came ♪

♪ And I'm a world away ♪

♪ 'Cause I'm a man of today ♪

♪ We not playing around ♪

♪ I got a black bull in town ♪

- [Jack] We've spent a long time prepping

for getting back into it.

We've put so much time into
rehearsing it properly.

It felt pretty much like we were starting

as we left off in 2017.

- I made sure that
we had like two weeks

of keyboard rehearsals.

Keyboard club I called it,

which is something we've
been responsible enough

to do before, and I'm so glad we did.

Jez had done all his
homework, and instantly,

within a second, we're
like, "Oh, he's really good.

"He fits in perfectly."

It was just there.

The energy was really, really good,

and it was like super fucking exciting

to star touring again.

- [Jack] Kit and Jeremy and Carly

all add such a high level
of positivity to the group.

- [Jimmy] It was nice to
take Kit and Jez to places

that they had never been
before, especially Kit.

It was his first world tour.

The excitement that he brings
about actual, like, you know,

differences in bread (chuckles)
between different countries.

It's like, we were so used to
it that we don't care anymore,

but seeing it through his
eyes has been really nice.

- The U.S. tour was pretty
daunting at the beginning,

because we hadn't been
on tour for a long time,

and just because it was so long.

And the U.S., obviously
it's its own place.

It's very American.

America is really American.

So you know when you're going into it

that everything's gonna be different.

I decided to stop drinking,

because pretty much every
reason to stop drinking

came up all at the same time. (chuckling)

In terms of touring, everyone else

is living a very different life.

- [Yannis] Towards the end
of touring in the states,

I wasn't feeling fatigued in any way.

I started to feel like a kind
of witch doctor on stage.

I just felt powerful in a way
that was almost dangerous.

- [Jack] Yeah, the balcony thing,

it can be a total highlight,

but there were so many times where

I'd genuinely be worried
that someone's gonna die.

You know, Yannis is this big hairy

Greek bowling bowl coming off the top.

You've got to make sure the ground's

gonna not collapse when it lands.

- It's just a way of
breaking out of oneself,

taking the show right to the edge.

It's Saturday night, let's do it!

Saturday night in London,
best city in the world!

Put your dancing shoes on.

We're gonna go out after this one.

♪ We're caught up in silence ♪

♪ I lose you in degrees ♪

♪ See you through the glass doors ♪

♪ I've looked all up and down now ♪

♪ I lose you in degrees ♪

♪ Come back around my way again ♪

♪ Leave me if you please ♪

♪ I'm tongue tied in silence ♪

♪ My words lost on the breeze ♪

♪ Caught up in your orbit still ♪

♪ Release me if you please ♪

♪ I lose you in degrees ♪

♪ Don't leave me on my knees ♪

♪ I lose you in degrees ♪

♪ Don't leave me on my knees ♪

♪ I lose you in degrees ♪

♪ Don't leave me on my knees ♪

♪ I lose you in degrees ♪

♪ Around again ♪

♪ I waste my days ♪

♪ Around again ♪

♪ Oh I know I've wasted time ♪

♪ When I've tried to please yeah ♪

♪ How did I end up here ♪

♪ Where I've come to be yeah ♪

♪ Oh I know I've wasted time ♪

♪ When I've tried to please yeah ♪

♪ Release me when I waste my time ♪

♪ Am I wasting my time ♪

♪ I could not persevere ♪

♪ Am I wasting my time ♪

♪ I could not persevere ♪

♪ Am I wasting my time ♪

♪ I could not persevere ♪

♪ Am I wasting my time ♪

♪ I could not persevere ♪

♪ Am I wasting my time ♪

♪ I could not persevere ♪

♪ Am I wasting my time ♪

♪ I could not persevere ♪

♪ Am I wasting my time ♪

♪ I could not persevere ♪

♪ Am I wasting my time ♪

♪ I could not persevere ♪

♪ Am I wasting my time ♪

♪ I could not persevere ♪

♪ Am I wasting my time ♪

♪ I could not persevere ♪

♪ Am I wasting my time ♪

♪ I could not persevere ♪

♪ Am I wasting my time ♪

♪ I could not persevere ♪

♪ Am I wasting my time ♪

♪ I could not persevere ♪

♪ Am I wasting my time ♪

♪ I could not persevere ♪

♪ Am I wasting my time ♪

♪ I could not persevere ♪

♪ No point wasting my time ♪

♪ I could not persevere ♪

Latin America is one of my favorite places

to tour in the world.

I like the expressiveness
of the culture in general.

I like how colorful it
is, I like the cuisine.

I like the chaos.

You feel the music has
a proper power there,

and it has the power to
change lives, almost,

and it really means something.

And you get that from the fans.

If your context has hardship in it,

then music can become a kind of beacon.

Even in a small way, like it
can just improve your day,

and it can be somewhere
where you can take refuge in,

and I think that that's felt more keenly

in places that perhaps have
a more troubled context

or where life's not as easy.

I remember I used to write in my journal

stuff about wanting to try
and make the band like a body

where the drums are the skeleton,

the bass is like the muscle,

and the guitars are the flesh,

and then the voice is
the could and the spirit,

and trying to view it in a kind of ...

as a body.

And the best show is when
the five of us come together

and we form this larger creature,

and it's effortless and it's telepathic,

and we just become this
kind of ruthless, efficient

musical machine that's
totally potent and can just

ignite venues, and we just
do that night after night.

I just felt like, as a group,
we were just untouchable

and obliterating places
with this positive energy.

♪ You don't have my number ♪

♪ We don't need each other now ♪

♪ We don't need the city ♪

♪ The creed or the culture now ♪

♪ 'Cause I feel well I feel alive ♪

♪ I feel well I feel alive ♪

♪ I feel the streets are
not pulling me down ♪

♪ So people of the city ♪

♪ I don't need your counsel now ♪

♪ And I don't need your good advice ♪

♪ 'Cause you don't have my lover's touch ♪

♪ You don't have my number ♪

♪ We don't need each other now ♪

♪ The creed or the culture ♪

♪ We can move beyond it now ♪

♪ The wolf is knocking at my door ♪

♪ Bang bang it asks for more ♪

♪ Stand here we stand tall ♪

♪ We can move beyond these walls ♪

♪ And I don't need your counsel ♪

♪ And I don't need that good advice ♪

♪ And I don't need to know what now ♪

♪ 'Cause you don't have my lover's touch ♪

♪ You don't have my number ♪

♪ We don't need each other now ♪

♪ The creed or the culture ♪

♪ We can move beyond it now ♪

♪ Can you even hear me ♪

♪ Do you even know my name ♪

♪ Can you see the ocean there ♪

♪ You don't have my lover's touch ♪

♪ I wonder can you hear me ♪

♪ And are you even listening now ♪

♪ 'Cause you don't have my number ♪

♪ And we don't need each other now ♪

♪ The creed or the culture ♪

♪ We can move beyond it now ♪

- I think we are, as a
band, at our most exciting

when it's more intimate
and when you're like

the secret band and when
you're playing a secret set.

Even though it's still important,

and you've still gotta play really well,

at the back of your
head you're kinda like,

"Well, you know, we're
like the bonus features.

"We're like DVD bonus features."

And if they're great, that's amazing.

Also, if they're not, who gives a shit?

- It's probably the only
time where we'll get

to play Glastonbury
without pressure of a sort.

Like we can just come in, play a show,

there's no expectation, none
of the nerves that you get

when you play after a
bit slot at Glastoso.

Like last time we played
when we did The Pyramid,

it was like, "Oh, this is a big deal."

And it is a big deal, but
this time it's not a big deal.

It's just a joke. (chuckles)

- Introduced my mom to Lars
Ulrich and Bradley Cooper,

and she had no idea who
either of them were,

which was great.

I was like, "Mom, Lars
Ulrich from Metallica."

And she's like, (laughing) "Cool."

- [Yannis] What's gone wrong now?

- Oh, just like the one
fucking, the one thing

that I asked for is to have
pastas in coats of cheese

and mayonnaise, and it's every fucking ...

Basically white foods.

Like, if it's got a sauce element to it,

like I would genuinely
would rather drink--

- If I had a spider in one
hand and a bowl of cream

in another, you had to
deal with one of them,

what would you deal with?

- Well, I mean, I'm not
scared to touch the cream.

I just don't want to eat it.

Honestly, if you pissed
into that glass there,

well that cup, to the top,
I would rather drink that

than a pint of milk, 100%, genuinely.

- All right, we'll sort that
out for later, shall we?

I'm really glad I went
to the pub last night.

- At the point where he
really should have gone home,

I said, "Oh, one more mate!"

And then he's like, "All right,

"I'll have a half and a whiskey."

And I came back, I was
like, "Oh, they've run out

"of half glasses, so
you've had to have a pint."

- I walked home shit-faced.

And I ordered Lebanese at midnight,

and then I had to change the
bedsheets and stuff and do ...

I kept being like, "I've got to get back

"to water the cujete."

'Cause it was just so hot today.

And no one's at my house for a few days,

and I've got to water the garden.

But I'll I remember is
I just kept repeating,

"I've got to go back and water my cujete."

- [Jack] I have worked myself up

into a quite nervous frenzy.

I sort of had to talk myself down

from quite a lot of stress
in the loo a minute ago.

I don't know what it is about Glastonbury.

Last time we did it was
maybe the most nervous

I've ever been before a show.

I paced around the dressing
by myself for four hours.

I think it's jut the responsibility,

like the pressure that you
feel to give the festival

what you feel like it deserves.

- I need a lighter.

Lighter.

All right.

Fucking Old Testament.

We should do it.

One last shift!

- [Female Announcer] Anything
not saved will be lost.

- [Jack] Good live music can
be a force that is bigger

than most other things out there.

And if you have one of
those seminal moments

where there's a gig that
does just a little bit more,

it felt like something like that

was happening at Glastonbury this year,

where it just felt more important

and bigger than we were expecting it.

And I think we realized quite
soon after we were on stage

by how many people had shown up.

I don't know, there was just something

in the air at that show.

- [Yannis] Looking out at that
sea of people, that felt ...

You know, that felt
really, really powerful.

It felt like one of the shows that,

if, at the end of the band's career,

I was to look back and be like,

"Right, top 10 shows,"
that will be up there.

- [Audience] One more song!

One more song!

One more song!

One more song!

One more song!

One more song!

- We'll just do a bottle
of vodka and a cigarette.

My string broke and just
went (whip cracking sound),

and like cut my finger ...

so brutally.

I mean, look at the state of that.

It's like I've been fucking murdered.

The keyboards!

Also, it's like my fucking pick

just was stuck to my
finger and it kept turning.

Joe, get me in.

It was an E man!

Rock and roll, baby.
- You all right?

Fuckin' 'ell, man!

Wow!
- T-shirt!

- Wow!

- You should see the state of my guitar.

- The guitar looked incredible.

- My keyboards.

Also, I managed to draw a bloody X

on the Glastonbury cameras. (laughs)

When the guy was wiping, I was like,

"Yeah, that was good that."

Yes!

- Get away!

- [Jack] Glastonbury
is an amazing festival.

The sheer amount of different experiences

you can have there,
there's no other festival

in the world that does that.

- [Edwin] It's by far the
best festival in the world.

Nothing else compares.

A lot rules of society kind
of fall away for a few days.

That's why people like it so much.

- There's a positive energy there

that feels deeper than just a festival.

There's just so much to
see and so many places

to get lost in and so many
experiences to be had.

It's like being confronted
with every possible avenue

of the future all in one go.

And that's quite a rare experience,

to feel like you could end
up in any type of scenario

depending on the decision
you make about next minute,

and all of them will be
great and life-affirming.

- Who else is in the van?

- [Woman] Jimmy.

- Yeah, who else?

- [Woman] Abby.

- Yeah, but they're comatose, that lot.

Where's the rest?

Where are the lively people?

Where's Jack?

Where's Beaky?

- I think there's a
respect that everyone has

for the festival and for
each other you don't get

at any other festival, really.

There's like this huge
ball of positive energy

that everybody feeds off and
comes back like destroyed

but enriched by that
collective human experience.

It feels like you're gonna bump into Pan

running around with his cloven hooves

and this massive erection,
playing a flute in a forest

while dousing himself in wine.

- I was just high on life that evening,

just high on the euphoria of having played

to a packed out crowd in the park stadium.

What a time.

It was incredible.

As I'm saying this, I
know that this will be

narrating clips of like
me pushing people over

and pulling their pants down

and slapping them on the ass and stuff.

- It feels like a release
from a lot of the pressures

and a lot of the restrictiveness
of British society

and the kind of insular
nature of life in Britain.

It's the antithesis to all of that,

and it's like an antidote
where people get to go

for a weekend and talk
to strangers and to feel

and show empathy and
show instant connection.

- [Woman] What's he doing?

- [Man] Nothing's happening!

- [Woman] Who?

- [Man] Nothing is happening.

- Weird mixture of high and exhaustion.

Not sure which one's gonna prevail.

- [Woman] Yannis!

- Has somebody spiked your drink?

- Get in the car.

Have you trimmed your
beard since the show?

- [Jimmy] No.

- [Yannis] Maybe you
should just be thankful

I picked up your white T-shirt.

- Did you?

- Yes, I did, you little ginger person.

Tik tok, mate.

♪ Now the sea eats the sky ♪

♪ But they say it's a lie ♪

♪ There's no birds left to fly ♪

♪ We'll hide out ♪

♪ Oh the weather's against us ♪

♪ Houses underground ♪

♪ The flowers upside down ♪

♪ In our dreams ♪

♪ In the eye of the storm ♪

♪ The land where you were born ♪

♪ You try to make no sound ♪

♪ You hide out ♪

♪ 'Cause they watch us in sleep ♪

♪ The language that we speak ♪

♪ And the secrets that we keep ♪

♪ To ourselves ♪

♪ In our dreams ♪

♪ In our dreams ♪

♪ I said I'm so sorry ♪

♪ To have kept you waiting around ♪

♪ I wish I could've come up ♪

♪ I could've shouted out loud ♪

♪ They got exits covered ♪

♪ All the exits underground ♪

♪ I wish I could figure it out ♪

♪ But the world's upside down ♪

♪ I said I'm so sorry ♪

♪ That the world has fallen down ♪

♪ I wish I could do something more ♪

♪ I could shout it out loud ♪

♪ They got exits covered ♪

♪ The exits underground ♪

♪ I wish I could figure it out ♪

♪ But the world's upside down ♪

♪ In a world upside down ♪

♪ Back to the days of yore ♪

♪ When we were sure of
a good long summer ♪

♪ I hope you could be
found out of ground ♪

♪ Our long lost brother ♪

Thank you!

- [Edwin] So I love flying.

I just enjoy being able to kind of sit

and just kind of observe the world

from different perspectives.

Don't understand why people
don't do window seats,

but apparently people are different.

I love being part of the sort of machine,

like the actual sort of Foals juggernaut,

dare I call it a juggernaut,

kind of rambling around the world.

It's definitely exciting just to be part

of something that's bigger than yourself.

- I like the fact that you can live

like a sort of modern age pirate.

To be able to just wheel around

and do whatever the fuck you want.

There's something about
endless movement and relocation

and that alone, the endless
movement and traveling

and always being in a different place

is fantastic on one
level, 'cause you're just,

it never gets old, nothing's ever boring.

You can play in a city one
night and completely destroy it

and then wake up in a brand-new city,

and then you just hit repeat.

Waiheke's just like a ...

It's just so beautiful.

Like it reminds me of Devon and Cornwall.

There's like nice craggy
coastlines and little coves.

But it's tropical, and
it's very, very peaceful.

And the people there are lovely.

They wave at you when you
drive past. (laughing)

And you're like, "Fuck off, mate."

I have to try and get in the sea

every time I possibly can.

I think it's from my grandfather,

like going on holidays with him.

He'd always go swimming, rain or shine,

whether it's freezing or boiling,

he'd always have to go in the sea.

So it just like, I don't know, salt water,

especially cold salt water,
it just makes you feel alive.

It's so intense.

It's just lovely, especially
when you're on tour

and the madness starts setting in.

It's like, to go somewhere
so very different

and just replenish yourself.

Jack, this is your nemesis.

It's easy to let yourself become

completely taken care of on tour.

Certainly your brain devolves

into a sort of primitive state.

- The way the tour is designed

is it kind of infantilizes you.

You voluntarily infantilize yourself,

'cause everything's pre-organized for you.

You behave like a baby, basically,

behave like a little baby.

Like a boozy one.

Touring is being stunting for
some us, like in the band.

I used to be able to read books on tour.

I felt that my brain was
less of a dormant organ.

And nowadays, I just feel like

my creative and
intellectual interior life,

it feels like I've neglected it.

I feel like I'm not becoming
a better or bigger a person,

becoming less through touring.

And sometimes I'd see
Edwin, and I think, like,

how amazing it is that he
can continue to pursue ...

like his intellectual
curiosity and his education

at the same time as being on tour.

It's like, I have tremendous
respect for his desire to do it

but also his discipline
in being able to do it.

- Oh, I've been doing maths
degree for a few years now.

And that fills up a lot of my time.

I've been reading a lot.

It's sort of an obvious thing to say,

but as soon as you remove the hangovers

and just the drinking,
then all of your motivation

and desire to learn about the world

comes sort of flooding back.

So this year we offset
our carbon emissions

for the first time.

The problem I have is that,
because I sort of know how ...

irrelevant it is.

And also, all of the emissions
and the impact we have

on a sort of secondary basis.

So, we travel to Australia,

and obviously there's the
emissions from flying there,

but just in terms of the show and people

traveling to the show, there's
all these elements to it.

The problem is, as soon as
you start thinking about it

and getting into it, the worse it gets

and the more kind of
insurmountable the problem become.

Obviously, ideally there'd be
like a carbon tax basically,

and everyone would be compelled

to pay for the real cost of travel.

- [Pilot] Once again, welcome aboard.

- I mean, it's not hugely rational,

because, without going into it too much,

the actual flying side of our lives

isn't that big of a deal compared to

other aspects of the economy.

But, I guess I became ...

I think on that tour that was like

a sort of low point of irrationality

for trying to work out how to
live my life within a tour.

- One thing about touring,
you just cannot fight it.

Whatever you're feeling,
whether it's super bummed out

or like super excited to be caught up

in this relentless momentum,

the worst thing you can do is fight it.

- [Jack] When you get to
that point of exhaustion

from just being jet lagged and tired

and not eating well and not sleeping well,

you switch your expectations
from having an amazing time

to just getting through everything.

- I'm just sick and tired
of being sick and tired.

I mean, there's nothing left.

There's nothing left.

There's just an empty, screaming void

that my brain used to be.

- I think because they all drink,

like party quite a lot,
I think a lot of it

is just like (chuckles)
a cumulative hangover.

Jimmy will regularly just
be like, "I'm so tired.

"Oh my god, I'm so tired."

It's two o'clock in the afternoon,

it's just like, "I've never
felt tired, I'm so tired."

You know, like, well,
I think maybe you need

to take some time off;
that's why you're tired.

- [Jack] Give it a try.

There's a lot of nice lime
in there, a lot of ice.

- What's this called?

Fruity.

- [Jack] Just give it a go.

- Oh my god.

It's nice, but it's very strong.

- Why is it such a hedonistic atmosphere?

- There's your ...

Jez has got this thing where, what is it?

There's your "you've arrived" mood.

- Oh yeah, this is
something my partner says.

Right, so she's like, "Yours
is the only job in the world

"where it's like, 'Well
done, you've come to work'

"'Have some booze.

"'Here's your before you do the job booze.

"'Here's your during the job booze.

"'Here's your after the job booze.

"'Here's your bus booze, here's
your going to bed booze.'"

That systemic indulgence is ...

- Cheap.

- Endemic, yeah.

We don't, you know ...

We don't have to indulge in all of that,

but being surrounded by it all the time

means that we basically do.

- [Yannis] Everything on
tour becomes about the show.

So like, the show is this
hour and a half of your life

every day that is paramount
that it goes well.

- Sometimes when I'm ...

Let's saying doing BB..

When I'm yelling into Jez's mic

'cause I've got nothing else to do,

I'll sometimes put
subliminal satanic messages

into "Two Steps."

Might do it tonight.

- [Interviewer] What kind of messaging?

- Just like, "Satan, Satan,
Satan lives." (chuckling)

Wow.

Really ...

Sort of gone a bit Lars Von Trier.

- The best Foals shows are ones where

they're like an out-of-body experience.

You don't feel a sense
of the end of yourself.

You feel like you're just
a part of this chaotic,

crazed, intense burst of
electricity in a room,

and it's a communion between the crowd

and the five of us on stage.

And the volume of the
show, and the lights,

it all just turns into this strange,

transcendent experience.

It's hard to put into words;
you just sort of know.

Usually, when you've
reached this higher state

where it's just like sound
and audience and energy

and you're totally out of
the more workmanlike aspects

of playing the instrument
or singing the songs

where it just becomes like a bigger thing.

But we chase that thing.

That's worse.

That's the propeller for
the shows being good,

is always chasing that.

It's like, knowing that it's possible

and having experienced it

but also knowing that it can't
be like that every night,

but nevertheless going
onto the stage every night

like it's gonna be like that.

- [Jack] The bad shows are
where people go in on themselves

and Yannis is in between songs
shouting at monitor lens,

Jimmy's not really coming out of his area,

I've got my head down.

- Everyone starts shouting at each other

and blaming everyone for fucking up.

The energy that can be so invigorating

becomes really, really negative.

It's a horrible feeling 'cause you're like

everyone's still putting in the
exact same amount of effort.

It's just like, I don't know,

it's like you've built
this beautiful new boat,

and you take it out and
it starts fucking sinking.

It's like, "Christ!"

And you're still sailing it,

and it's like you're half underwater.

- [Yannis] We love you!

See you next time!

Drive safe!

Thank you!

- Fuck it!

That was like an Event
Horizon version of the gig.

Gone to hell and back.

- It was just totally flat.

- The drums crapped out.

But also my guitar was
so loud in every scene.

It's like some was just
leant on a knob by mistake.

Those overhead lights.

Don't know about you, but all I see

when I look at my fret
board is just reflections

across the top, and I
can't see what I'm playing.

Bright white light, bright
white light, oh my God.

Just like a shit Christmas tree.

Twatted the light on my side at the end.

Kicked it, and it went
thuh-dung! (chuckles)

It's like, you've gotta
have them for arenas,

but it's like, well, let's
just not play arenas.

♪ Sticks and stones ♪

♪ Don't break my bones ♪

♪ You make believe ♪

♪ It's lock and load ♪

♪ Dead end road ♪

♪ To you and me ♪

♪ You know what's to go ♪

♪ I'm strict for soul ♪

♪ You make believe ♪

♪ And I'm off the rent ♪

♪ I haven't spent ♪

♪ I guarantee ♪

♪ Can you not go away ♪

♪ Just for one day ♪

♪ Impossible possible ♪

♪ How would you do know how'd you do now ♪

♪ Run away war sounds in you ♪

♪ Don't throw your fortune away ♪

♪ And I can't get enough space ♪

♪ Space ♪

♪ Space ♪

- We're gonna fuckin' do it now!

All right, I want every
single person in here.

This isn't a request.

Everyone get down on the ground.

Everyone get onto your
knees down on the ground.

It's gonna be worth it, trust me.

All right, and once we build it back up,

when you know we're gonna
kick in, you jump back up.

It's simple.

Stay down.

Gonna blow this place away.

♪ Space ♪

♪ Space ♪

That's the spirit.

- [Carly Anne] Jack.

- What?

♪ Take me to the place I love ♪

- Okay, I guess the drinks
are on other people then.

Oh my God.

Oh my God.

Repeat, hold the lift, hold the lift.

- [Jack] You dropped your key.

- That's not my key.

- [Yannis] That's a a different hotel.

- You dropped your elastic band.

- [Jimmy] Oh yes.

- We got all the way tot eh
ground floor! (claps hands)

- Fucking punished in there.

- There were two guys
in there that were like

the ultimate in strength and punishers.

"You a bit tired?

"You can't lie."

It was just like, "Wow, you
keep calling me a cunt."

"Cunt!"

And it's like, when you're knackered

and you're like, "Yeah, thanks man."

They're like, "Oh, sorry mate.

"Didn't mean to put you out or anything."

- [Yannis] Cunt.

- Cunt, yeah.

- You know what?

It's someone's birthday tomorrow isn't it?

Somebody might be getting a new cap.

- People seem to think that you live

in like absolute comfort the whole time

and that it's really easy
and it's a dream to do it.

Sometimes that's true
but, like, it's brutal.

Any one of our friends who's
tried to come on tour with us

will testify that they can
only last about three days.

Because it's so cool what
we do, but no one ever wants

to hear the fact that it
might not be that great.

- I want to qualify this,
because this is the problem

with doing the interview at the moment.

It's like, if you asked
me in four month's time,

I would be like, "Touring's amazing.

"Touring's incredible.

"You'll have the best
time with your friends.

"I miss playing shows.

"I'm feeling restless.

"I want to go see the world.

"And I want to be on stage again."

And the problem is, with doing
this interview now, I guess,

is that we're at the end
of quite a long year,

and I'm really at that point
where I'm craving time at home

and wanting to have a break.

- [Jack] All right, man.

- Are you going barefoot?

- Yeah.

I've quite leathery feet.

Oh, look, there's one
of those turkey things.

- There was a dog on
the beach that was like

one of the coolest dudes I've ever met.

Very attentive to the ball
and a great sense of humor.

So, that dog, top marks.

Fuck!

- [Man] Oh, he's gotta got at this one.

- Fuck!

All the pressure!

- [Man] Get in, get in!

- Happy birthday!

♪ Happy birthday do messieurs ♪

♪ Happy birthday to you ♪

- Let's ride!

Lizard!

All right.

You all right?

What happened?

- Oh, the set list.

- [Yannis] Set list was funky.

- Set list fucked me up.

- [Yannis] Tightness, or just vibe?

- No, no, just the vibe.

Like, we shouldn't be
fucking with that shit.

We're too long in the game to just be like

getting insecure and changing
the set list before a gib.

It's bullshit.

- [Yannis] I don't think it
really makes a difference.

- It makes a huge difference!

- [Yannis] What for?

- Like the flow of the set,

like the way I felt during the gig.

I don't know if you felt
the same but just like--

- [Yannis] I definitely
felt when went into "Exes,"

it was like, "I wish my
number was in front of me."

- But then I just also felt like ...

It just felt like, yeah,
rock music is on its way out.

No matter how hard we
went, it just felt like

it wasn't reciprocated in the
same way that we're used to.

- The way that records are consumed now

and the way that all kind
of output is consumed,

the appetite is ...

so fast-moving that, if you
spend two years of your life

making a record and it seems old to people

within three months or four months,

and that's not to do with
the quality of the record,

but it's more to do with the
way that people consume art,

then the question is
like, "What are you doing

"spending two years of
your life on something

"that only has oxygen for three months?"

- [Jimmy] We had that great
bonfire on the beach at night

with Jenn from War Paint.

The moonlight was incredible.

I've never seen anything like it.

It was so blue.

It's that kind of thing where you're like,

"I feel so good and so cosmic

"and so in the right place to be this

"that I didn't want it to end at all."

♪ So I walked through to the haze ♪

♪ And a million dirty waves ♪

♪ Now I see you lying there ♪

♪ Like a lilo losing air ♪

♪ Air ♪

♪ Black rocks and shoreline sand ♪

♪ Still dead summer I cannot bear ♪

♪ And so wipe the sand from my arms ♪

♪ The Spanish Sahara ♪

♪ The place that you'd wanna ♪

♪ Leave the horror here ♪

♪ Forget the horror here ♪

♪ Forget the horror here ♪

♪ Leave it all down here ♪

♪ It's future rust and it's future dust ♪

♪ Forget the horror here ♪

♪ Forget the horror here ♪

♪ Leave it all down here ♪

♪ It's future rust and it's future dust ♪

♪ Now the waves they drag you down ♪

♪ Carry you to broken ground ♪

♪ Though I'll find you in the sand ♪

♪ Wipe you clean with my dirty hands ♪

♪ So god damn this boiling space ♪

♪ The Spanish Sahara ♪

♪ The place that you'd wanna ♪

♪ Leave the horror here ♪

♪ Forget the horror here ♪

♪ Forget the horror here ♪

♪ Leave it all down here ♪

♪ It's future rust and it's future dust ♪

♪ I'm the fury in your head ♪

♪ I'm the fury in your bed ♪

♪ I'm the ghost in the back of your head ♪

♪ 'Cause I am ♪

♪ I'm the fury in your head ♪

♪ I'm the fury in your bed ♪

♪ I'm the ghost in the back of your head ♪

♪ 'Cause I am ♪

♪ I'm the fury in your head ♪

♪ I'm the fury in your bed ♪

♪ I'm the ghost in the back of your head ♪

♪ 'Cause I am ♪

♪ Forget the horror here ♪

♪ Forget the horror here ♪

♪ Leave it all down here ♪

♪ It's future rust and it's future dust ♪

♪ Choir of furies in your head ♪

♪ Choir of furies in your bed ♪

♪ I'm the ghost in the back of your head ♪

♪ 'Cause I am ♪

♪ The choir of furies in your head ♪

♪ Choir of furies in your bed ♪

♪ I'm the ghost in the back of your head ♪

♪ 'Cause I am ♪

- We are in Bangkok.

In a van.

As usual. (chuckles)

First impressions, very vibrant.

The food is insanely good.

- Bangkok we'd never been to before.

So anywhere new in this
stage in our career

is definitely intriguing and
abuzz and keeps things fresh.

There was an element of
us only getting there

after 10 years of being a band,

and I think that that was powerful.

- [Jack] I like cities where things

aren't pristine and overly ordered.

It's got a lot of energy to it.

There's a lot of hustle and bustle.

It's chaotic, it's quite dirty.

- It feels really clean.

It just keeps firing.

- Don't fire it like
that you fucking plunker!

- I feel like Jack starts to turn into

a type of mythological creature,

like a griffin or a banshee.

Something of the pterodactyl
about it right before a show.

I don't know how much it was
to do with his bare feet,

but yeah, he gets pretty hyped up.

They were a great crowd.

They were like super
bouncy, very receptive.

Also heard that a lot of people

had flown in from Malaysia and Singapore.

So, lots of people singing along.

There was a Pigeon Forever handmade poster

right at the front.

So it was good, there was
definitely a lot of hardcore fans.

When you come to a new place

and you're experiencing new
things for the first time,

it's like it just breaks that,

the kind of predictable
nature of the circuit,

and you have that reciprocal energy

coming back at you from the crowd,

and you see that what
you're doing is meaningful

and the music affects people,
and that becomes more poignant

in a place that you haven't played before.

Thank you.

Hi.

- Jack!

Lives here!

- [Jimmy] Welcome home, mate.

This is fucking sweet!

- We've being going on some
sort of crazy adventure.

Seeing Bangkok, seeing the
sights, hustle and bustle.

Watching many eggs.

Definitely thought that that
was one of the best things

on tour of this whole
album campaign, for sure,

if not one of the best days ever.

We haven't been here for a
few, like five years now.

We were told that kind
of like rock music's

on the decline in a way out
here, like quite rapidly,

and also that the foreign music market

shrunk massively in general as well.

- [Jack] That's why we're
here now, to turn it around.

- Yeah, turn it around, and just, yeah,

two steps forward, three steps back.

- [Jack] We're just out
here saving rock music.

Do you know what I mean?

♪ Time has come and time is done ♪

♪ Cities burn we've got youth to spend ♪

♪ And life to live and time
to waste again my friend ♪

♪ Through the flames
and through the fire ♪

♪ Cities burn but we don't give a damn ♪

♪ 'Cause we've got all
our friends right here ♪

♪ We've got youth to spend ♪

♪ Time away from me is what I need ♪

♪ To clear my sight and clear my head ♪

♪ I'm coming down over it ♪

♪ Coming down over it ♪

♪ Coming down over I'll be right there ♪

♪ I'm coming down over it ♪

♪ Coming down over again ♪

♪ Be right there ♪

♪ I'll be right there ♪

♪ I'll be right there ♪

♪ I'll be right there ♪

♪ The birds are singing
it's the end of the world ♪

♪ The birds are singing
the birds are singing ♪

♪ The birds are singing
it's the end of the world ♪

♪ The birds are singing
the birds are singing ♪

♪ The birds are singing
it's the end of the world ♪

♪ The birds are singing
the birds are singing ♪

♪ The birds are singing
it's the end of the world ♪

♪ The birds are singing
the birds are singing ♪

♪ The birds are singing
it's the end of the world ♪

♪ The birds are singing
the birds are singing ♪

♪ The birds are singing
it's the end of the world ♪

♪ The birds are singing
the birds are singing ♪

♪ 'Cause time away from
me is what I need ♪

♪ To clear my sight and clear my head ♪

♪ Clear my head ♪

♪ Clear my head ♪

♪ Clear my head ♪

- Thank you.

Japan in particular, it's
so different culturally.

Coming at it from a Western perspective,

it's an unintuitive place in certain ways,

which is quite rare.

I feel like the world is
incredibly homogenous these days

and even when it isn't, you
have signs and signifiers

in the way that the city
operates that is quite familiar

even if the language might not be

and other cultural aspect won't be.

But Japan, you can't rely on
intuition in the same way.

So that's just exciting,
it's an exciting place.

The shows are different, the
architecture's different,

and the fans are different.

Very thoughtful.

Often they come with
beautifully made gifts,

like lots of time spent on
really nice personalized

letters and presents that
are just really thoughtful

and sweets as well.

They live to give sweets.

Very passionate.

- [Jack] How you doing?

- [Fan] Hi! (giggling)

- [Jack] I like your shirt as well.

- Oh, thank you.

Like Yannis.

- [Jack] Yeah, yeah.

- [Yannis] You know, the Japanese crowds

are famously different,
they're more respectful.

They're quieter.

They're kinda less rowdy I
guess you'd put it in a way,

but it doesn't feel
cold, it just feels like

the appreciation, the attentiveness

is manifest in a different way.

Also, on a personal level,
I'm approaching the shows

slightly differently at
this point in the tour.

The first show, the Osaka show, was great.

I really enjoyed that.

It was a good one for me
to play it relatively sober

and still have a great show.

- Japanese crowds are
awesome, but between songs

it was like absolute, deathly silence.

No one had told us they
were gonna do that,

so we were like, "Oh my God, they hate--"

You know, like, "They hate us."

And it's actually just like
a show of respect, I think.

- Can I take a picture of that?

- Yeah, yeah, yeah.

Her first time show in Osaka.

- [Jack] This is what 10 yeas
of touring will do to you.

- Thank you very much.

- Pleasure.

- Caffeinated.

- Highly, highly caffeinated.

The caffeine's just a
sort of slight veneer

on top of the exhaustion and the ...

the general sense of impending doom.

Do you have a general sense of malaise?

Of course you don't,

'cause you're the chirpiest man ever made.

You're just a happy
little hamster. (laughing)

- Is it 'cause I fall asleep smiling?

- Yeah, have you heard about Kit's ...

philosophy of sleep?

If you go to sleep with a silly
little smile on your face,

(laughing) it'll change
your outlook on life.

- The most futuristic, outdated
country you'll ever go to.

Like, you'd go there and
you'd think all the technology

would be like absolutely cutting edge.

You know, even like
things like the toilets

and the trains and stuff, they're all like

they were cutting edge, and
they're still cutting edge

in a way, but they're like 20 years old.

What I'd love to happen tonight--

- [Jack] Is to have a mental ward.

- Have a really big one.

Just go out and like--

- [Jack] Some saki.

- Yeah, well there's like this area,

I want to find out where it is.

- [Yannis] Is it the
bit that's all covered?

- Yeah.

- [Yannis] Yeah, we used to
walk there from our hotel.

- Yeah, and there's like food stalls.

- [Yannis] Yeah and I
don't know if it has that

sort of like Oxford city center culture

where it's Friday night and you get--

- [Jimmy] No, it's the opposite
of that, which is great.

- [Jack] Down the cellar.

- [Yannis] Down the Fuggle and Firkin.

- [Jimmy] I mean, it's very universal.

People work nine to five
from Monday to Friday,

so Friday night would be the night

that they'd probably
go out and have a beer.

You're so jet lagged when you get there.

It's like Australian
jet lag where it's like

it can be quite psychedelic.

It helps when you're
somewhere so weird as Japan,

'cause you just fully
immerse yourself in it

and go to all these tiny bars.

We've had some really,
really good nights out there.

Sort of pointing at men with earpieces

kneeling outside clubs, and being like,

"Is that the Yakuza?"

Like our Warner's girl
being like, "Uh, yes.

Like, "Fucking run."

Hey, Jez.

You're fired.

You're fired, mate.

Assholes.

See you later.

- [Jack] You make better friends

with the people you tour with

than you will ever have outside of tour.

- Yeah!

- [Jack] It's beyond a
traditional friendship.

It becomes a brotherhood.

You will never spend more time
and be closer to anyone else.

♪ Fuckin' Sally used
to work on the docks ♪

♪ Fuckin' union's been on strike ♪

♪ He's down on his luck ♪

♪ It's tough ♪

♪ So tough ♪

♪ Fuckin' Gina works the diner all day ♪

♪ Fuckin' working for a man ♪

♪ She brings home her pay for love ♪

♪ What a fuckin' legend ♪

♪ Fuckin' love ♪

♪ We've gotta hold on to what we've got ♪

♪ It fuckin' doesn't make a difference ♪

♪ If we make it or not ♪

♪ Fuckin' got each other and
that's all right for love ♪

♪ Fuckin' give it a shot ♪

♪ Whoa ♪

♪ We're halfway there ♪

♪ Whoa ♪

♪ Fuckin' living on a prayer ♪

♪ Take my hand ♪

♪ We'll fucking make it I swear ♪

- (speaking foreign
language) Playstation gamers.

I'm Yannis.

- I'm Jack.

- I'm Edwin.

- I'm Jimmy.

- And we're Foals.

And we're at Summer Sonic in Tokyo in ...

Fuck!

- We've selected a playlist.

Listen to it while you're gaming.

- That sounds so sarcastic.

- That does not sound--

That's just my voice.

- Hey, we're Foals and
this is Summer Sonic

20th anniversary on Wowow.

- When you're in Japan, it's a cliche,

but it's like being in another world.

We haven't been for a while,

because they're not really as interested

in so-called Western
music as they used to be.

Certainly when we did Antidotes,

I feel like you could rock up to Japan

if you had a record contract
and you were British,

and a certain sector of the
population would love you.

And that doesn't seem to
exist in the same way anymore.

I think maybe they're a bit more busy

listening to Japanese
music and Korean music.

Yeah, like sort of since 2008
people have been telling us

that guitar bands are coming back.

That like, just around the cor--

Particularly in America,
like, "It'll be fine soon."

And it's obviously not happened,

and I don't think it's
ever going to happen.

- Being in a band's like ...

It doesn't make much
sort of business sense.

- I don't know whether bands
can actually do it anymore,

and it seems that bands release

one album and then disappear.

Because they'll get support
from the record label

and they won't see any financial return.

You know, it's just like,
"Oh well then, goodbye."

I just feel really fucking bad
for young bands at the moment

or people who want to take that path,

the difficult path to making music.

I feel like it's never
been more difficult,

and I feel like there's never
been less support than now.

- When you're making a
record, it's kind of lonely

and daunting, and you don't
know if it's good in a way.

You don't know what it
means to other people.

And I feel like the more
that you're making a record,

the more lyrics I write,
the deeper I get into it,

by the end of it I'm basically empty.

Like I just feel like
you've put so much into it

that there's nothing left inside you.

One of the great things
about touring is that,

every night that you play a show,

you're slowly filled back up by the energy

coming from the crowd and the interactions

you have outside of the show.

Like when somebody comes
up to you and tells you

that one of your songs
is their favorite song

or helped them et through a hard time,

it's a deeply rewarding moment.

And cumulatively, those
things fill you up.

The ability for what we're doing to endure

is under threat from the way that ...

The way that music and
culture are consumed.

I struggle with that, because
obviously I want what we make

to live and breathe and
communicate and be powerful.

I don't want to do it just to
fill somebody's half an hour,

somebody's free time on their phone.

Like we were saying about feeling

that what you do with
your life is meaningful.

Like, how meaningful is it
to be a musician in 2019,

and in a band particularly?

It doesn't have the same cultural power

that it did 10 years ago or 20 years ago.

You don't have the feeling
that you can penetrate society

and culture in the same way

or engage with it or
form a dialogue with it.

So I think at the darker moments,

I kind of start to think,
what's the point of it?

Beyond me just enjoying or needing

to express myself creatively,

is there a wide purpose to it?

I'm gonna figure that out
in the next few years.

But in the interim, those
interactions with fans

are the ones that make you
feel like it's worth pursuing.

♪ I buried my heart in
a hole in the ground ♪

♪ With the lights and the roses
and the cowards downtown ♪

♪ They threw me a party
there was no one around ♪

♪ They tried to call my girl
but she could not be found ♪

♪ I buried my guilt in
a pit in the sound ♪

♪ With the rust and the vultures
and the trash downtown ♪

♪ So don't step to me kid
you'll never be found ♪

♪ 'Cause while you were
sleeping I took over your town ♪

♪ When I see a man I see a lion ♪

♪ When I see a man I see a lion ♪

♪ You're the apple of my
eye of my eye of my eye ♪

♪ You're the apple of my
eye of my eye I want ya ♪

♪ I fell for a girl
with a port wine stain ♪

♪ I knew her initials but never her name ♪

♪ I tried and I tried and
I was never the same ♪

♪ It's no longer for love
and I'm forever changed ♪

♪ When I see a man I see a lion ♪

♪ When I see a man I see a lion ♪

♪ You're the apple of my
eye of my eye of my eye ♪

♪ You're the apple of my
eye of my eye I want ya ♪

♪ Give up my money give
up my name take it away ♪

♪ I'll give it away I'll
give it away I'll give it ♪

♪ When I see a man I see a lion ♪

♪ When I see a man I see a lion ♪

♪ When I see a man I see a lion ♪

♪ When I see a man I see a lion ♪

♪ You're the apple of my
eye of my eye of my eye ♪

♪ You're the apple of my
eye of my eye I want ya ♪

♪ Give up my money give
up my name take it away ♪

♪ I'll give it away I'll
give it away I'll give it ♪

♪ I'm a sycophantic animal ♪

♪ I'm a sycophantic fool ♪

♪ I'm a sycophantic fool ♪

♪ Break up the chain I'll break
up the chain I'll break it ♪

♪ Give it away I'll give
it away I'll give it ♪

♪ When I see a man I see a lion ♪

♪ When I see a man I see a lion ♪

♪ You're the apple of my
eye of my eye of my eye ♪

♪ You're the apple of my
eye of my eye I want ya ♪

♪ Give up my money give
up my name take it away ♪

♪ I'll give it away I'll
give it away I'll give it ♪

♪ See you again I'll see
you again I'll see ya ♪

♪ Give it away I'll give
it away I'll give it ♪

♪ When I see a man I see a lion ♪

♪ When I see a man I see a lion ♪

♪ You're the apple of my
eye of my eye of my eye ♪

♪ You're the apple of my
eye of my eye I want ya ♪

Thank you!

We love you, thank you so much!

- You killed it.

(speaking foreign language)

- The calming down after the
show doesn't happen. (chuckles)

It's not a "how does it
happen," it just doesn't happen.

- Well, we're not fucking Navy
Seals, you know what I mean?

All four member at the
same place 1600 hours.

- I'm talking about Yannis.

He usually amps things up.

- I'm like a Tasmanian devil.

I'm like charged, I'm a spinning top.

And then it goes into the night,

and that's where the problem is.

- He needs to actually
accelerate, for whatever reason.

- Let's open this drug den for business.

Well played.

Give us a bump.

We were literally the gospel
out there this evening.

- Who's everyone?

- We were the Holy Ghost up there.

Leave it for ...

Leave it for someone.

- All right.

- I'm in my Holy Ghost side.

You're like a math rock Komodo dragon.

- Can you try and catch
this cork with your bottom?

- [Yannis] No, 'cause I know
how you take corks out as well.

And I'll leave the viewer to--

- I'm a gentleman.

- I tell you what, though, were literally,

we were Old Testament tonight.

Our series has acquired fucking biblical--

- [Jack] Jimmy, do you want to try

and catch this with your bottom?

- [Yannis] Marry your third cousins.

- Yeah, fuck, man, I
feel great, I feel great.

It felt like fucking
Nirvana at Rock in Rio.

You know, and there's
that guy on the soldiers.

It's like, "Eat my guitar!" (chuckles)

But apparently no one could see me

'cause there wasn't a spotlight on me.

- Oh my god.

- [Man] Oh, yes!

- That is literally
Ecclesiastes number two.

- Yannis, Yannis.

Yannis.

- Jokes aside, the
gospel, all these jokes,

'cause they are obviously jokes,

but when you play a show like
that with a crowd like that,

it is transcendental, it's spiritual.

It's like, since the dawn of man

people have got together
and they made music.

Music's a prayer.

Original music started as a prayer.

And we make music that is a prayer.

And then we share it with people.

We share it with 10,000
people every two nights

in a bogged city of
peeling bricks like London.

We sing our prayers out
two nights in a row,

and then you end up like
a madman at the end of it.

- Everyone in the band has
a slightly different idea

of what could possibly come next.

- I just want to make ...

the best Foals record of all time

and I'd like to make the best
record of all time, I guess.

That sounds kind of slightly ridiculous,

but, I mean, that would
be the loftiest desire,

would be to make a record that
will never ever be forgotten.

- I feel that the best song
that we will ever write

is still ahead of us.

That's what I want us to achieve,

is to capture that elusive
song or that elusive album

or that elusive best ever show.

And I think, like with
any addiction as well,

we will probably attain those things,

but quite shortly afterwards we will feel

like we need the next hit.

That's the problem with
being a musician or an artist

or whatever it is like.

You can spend a life doing that

and never really feeling satisfied.

You know, 'cause it's only a transitory

feeling of satisfaction.

- The amount of experiences
we've had over the years,

I do kind of just feel like ...

I don't mean this in a morbid way

or in like a nihilistic
way, but I just feel like,

if I did drop dead tomorrow,

I would have been proud of ...

I would have led a good life.

And I don't believe that ...

It hasn't had a chance to go sour.

But it's also the only thing I know now.

I mean, there's loads of
experiences I've got from it

that would translate into
doing something else,

but I can't really imagine
doing something else.

I don't see it lasting forever,

but I also don't really see it ending.

If it was gonna end, I'd like to think

that we would all kind of ...

We'd all be on the same page
and we'd decide in advance

so it's not like a huge, big
horrible shock to everyone.

- Trying to keep it together, I think.

It's like realizing how
fragile an ecosystem

a band really is and how
vulnerable it can be sometimes

to external influences and
protecting the precious core,

the gemstone that's lying
at the heart of all of this,

and just protecting it
with everything you've got,

and polishing it every now and
then, and treating it nice.

You know, like the beatings, the heart,

not a fucking gemstone,
it's a beating heart,

and it's like protecting that

and putting personal differences or ego

or money or anything
aside in order to protect

what it is that's got you there

and what it is that everybody loves.

- I think that there's
something uniquely valuable

about forging deep ties with your friends

and creating something in unison together.

- The most rewarding thing
about being in a band

is that we've built something
out of absolutely nothing,

pure love of making music.

- Having this type of communal experience

and doing that with your friends

and experiencing those songs
that you've worked on together

go into the world, and
then meeting other people

through that, I think that it's ...

It's a good way to spend a life.

Hey man.

Sorry to keep you waiting.

Tobey, hurry up bro!

Holly, I'll text you.

It's been a long night.

How's your night been?

Bad or good?

This song's called "Two Steps Twice".

♪ Sun side sun dance step for two ♪

♪ Sun side dance step for two ♪

♪ Sun side dance step for two ♪

♪ Sun side dance step for
two dance upon and sing ♪

♪ Dance upon and sing ♪

♪ Dance upon and sing ♪

♪ Dance upon and sing ♪

♪ Dance upon and sing ♪

♪ Sun side sun dance step for two ♪

♪ Sun side dance step for ♪

♪ Sunset disco this is for you ♪

One more round then we're
gonna fucking do this!

Saturday night!

It's coming!

♪ That's one step one step two step ♪

♪ That's one steps two steps speed bikes ♪

♪ That's one step one step two step ♪

♪ That's one step two speed bikes ♪

♪ That's one side one side one side ♪

♪ That's one side two steps speed bikes ♪

♪ Lets swim lets swim
lets swim this song ♪

♪ That's one step one step two step ♪

♪ That's one step dance step speed bikes ♪

♪ One sound one sound one sound ♪

- Yes!