June 19, 2025 • 32 mins
Ever wondered how a great band finds its voice? Sheffield's dream pop trio Pale Blue Eyes offers a fascinating glimpse into the alchemy of friendship, creativity, and musical evolution that shapes extraordinary music.
Fresh off their spring UK tour, Matt and Lucy describe how their most recent performances felt like "one big party" with their best mates, culminating in their biggest London show to date at Islington Assembly Hall. This camaraderie extends beyond the stage; it's the foundation of their creative process.
Their origin story reads like indie music serendipity—a photographer named Aubrey, originally there just to document a studio session, stepped in when a bassist didn't show up. Despite never hearing the songs before, he immediately connected with the material. Six months of rehearsals without gigs or even a band name followed, until they had unwittingly created an album's worth of material right before lockdown hit.
The pandemic, while devastating for live music, became an unexpected catalyst. Their first single "went nuts on Bandcamp," offering what Lucy calls "a beacon" during difficult times. Three albums later, their approach to songwriting continues to evolve deliberately. Matt collects phrases, experiences, and observations in notebooks that later become songs, while the band consciously experiments with different creative approaches to avoid falling into patterns.
What makes Pale Blue Eyes special is their ego-free collaboration. Where many bands falter when "someone thinks that they're it," this trio thrives on their differences. Lucy and Matt bonded over shared loves like Broken Social Scene, while Aubrey brings entirely different influences from disco, soul, and jazz backgrounds. This fusion creates their distinctive dream pop sound that blends shoegaze and synth elements into something uniquely captivating.
Listen in as we explore how three friends from Sheffield crafted one of the UK's most exciting musical projects, and discover why their latest album "New Place" feels like their most honest work yet. Are you ready to discover your new favorite band?
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Pale Blue Eyes (00:08):
How long is now a question?
What's in front of me?
The time it takes to see forwhat it really is.
Am I leaping in the past?
colleyc (00:30):
So welcome back everyone to another episode of
the podcast Reaching across thepond again.
So many amazing UK artists thatI've had the privilege of
talking with and them coming andsharing their story Today no
exception.
Privilege of talking with them,them coming and sharing their
story today, no exception.
Uh, pale blue eyes, um, out ofSheffield, the UK, out of, uh,
united Kingdom, and they'recoming in.
(00:52):
Uh, this is a great alternativedream pop.
Uh, I throw shoegaze synth popin there as well.
Just the beautiful arrangementof of sounds and vocals.
Um, sure to satisfy any weekendlistener.
You know you've got some timeon your hands.
You want to kick back on thecouch, have a beer, coffee and
listen to this record.
Uh, it will do some specialstuff for you.
(01:15):
So thanks, guys.
I have a Matt and Lucy herefrom hill blue eyes.
Um, I really, uh, I've beenlooking forward to this chat.
Pale Blue Eyes (01:28):
How are you?
I really I've been lookingforward to this chat.
How you guys doing today, right?
Yeah, we've just literally comeback from the UK UK leg of our
tour, so I just had a nap infront of the football actually
before we came on.
colleyc (01:36):
That's the best sports, kind of in the background a
little snoozy.
Pale Blue Eyes (01:42):
it always sends me off like I'm like right, I've
got to stay up and watch thisfootball match or whatever it is
, and it just sends me.
colleyc (01:51):
It brings you to a better place?
Maybe so, matt.
How did that go?
How did the reception go on theroad?
How did things go?
What was your reception?
Give us a little describer ofall of that.
Pale Blue Eyes (02:07):
We had so much fun and I think we're very like.
We're just like we're missingthe guys already.
I just made a round of teas foreveryone and there's only two
of us left in the house, so oneof those like we're very, very
lucky to be on the road with ourbest mates and that like runs
throughout the whole camp and wehad an amazing team around us.
(02:29):
The gigs were really fun,visited some places that we'd
been before, finished up in theIslington Assembly Hall in
London, which was like ourbiggest UK kind of venue to date
.
So that was a really amazingway to finish off the tour.
But yeah, it was.
It's been a lovely couple ofweeks.
We did a made a veil sessionright at the beginning on six
(02:55):
music for Riley and co, so westarted there and then in London
.
So yeah, it's been an amazingcouple of weeks.
Wow, wow.
colleyc (03:03):
And Lucy, do you have any fun stories you can tell us
about?
That time on tour of weirdsituations, a funny story um a
chance encounter, uh, didanything out of the ordinary
happen other than just all thefun?
Pale Blue Eyes (03:18):
let me think.
I mean we nearly missed one ofthe gigs because the traffic was
so bad, but that was less funnyand more stressful.
Your sister's birthday, yeah itwas my sister's.
It was the night before mysister's birthday, brizinton, so
we had a good posse at the last, at the last show, drinking
prosciutto backstage, so thatwas quite a finish off on a high
(03:41):
, I don't know really.
It's, it's been justconsistently fun all the way
through and I think uh, I can'treally think of any funny
stories I mean we're literallyentertained 24 7 by our bass
player aubrey.
colleyc (03:58):
He's absolutely hilarious and like has so much
energy that like when we comehome and he goes home, it just
seems so quiet it's always goodto have one of those in the band
, a one of those members thatjust kind of, yeah, free play
and, uh, prologue, monologue, alot of the time, yeah, like we
(04:19):
definitely take advantage of theuh, the fun opportunities.
Pale Blue Eyes (04:22):
and it is like, since we did that really long
european tour like, um, thedriving, like driving two, three
hours now just seems likeyou're going to the local shops
because we were doing quite longdrives around europe and like
this was so we've yeah, I thinkwe've just like we kind of know
uk touring now so we know whenwe can let our hair down a bit
(04:45):
and we did like a really funadventure on this one.
But I think just playing themusic is and playing the show is
the big thing for us.
So and everything you know,because we're such good mates,
everything is just like one bigparty.
colleyc (05:02):
Do you find that as the tour goes on, the songs change
a little bit, new flavors arebrought in, or or do you try to
maintain them as as they are?
Pale Blue Eyes (05:12):
I think it doesn't actually happen.
I think often that people oftensay about how they wish that
you could record an album, tourit for a year and then record it
again, because it's like youwhen you record it's, it's a
really good way of sort ofimprinting things and like lock
things in.
So then you go into playing itlive with a certain kind of I
(05:33):
don't know.
There's like a deep kind ofknowing of the songs.
You know them so well that it'sjust you don't even think when
you're playing them.
Um, but then in playing themlive, like you say, they just
naturally evolve and I thinkthen by the end like just little
subtleties creep in, likethings that I do when I'm
drumming, that I just startaccenting certain things, or
like me and all just dosomething together.
(05:53):
That will just become a thingwe do every night and then at
the end of it you think, god, Iwish we could record it again
like that, but it just takes ona new version of it.
colleyc (06:04):
I suppose right, yeah, I mean the saturation too is, as
you mentioned, of just puttinga record out.
I mean you hear every littledetail and everything.
So, um, focused on that, itmust be.
Um, is it hard to to tounshackle yourself from, from
the master, from the, theoriginals?
(06:25):
Um, like is, is that a task todo or is it come, like you were
mentioning, lucy, that you findlittle moments to add things in?
Pale Blue Eyes (06:34):
We rehearsed them quite a lot before.
We rehearsed the whole albumand generally we'll feel them
out in the room and if there's asong that doesn't kind of
translate live, we just won't,we won't really play it.
So I think at the moment theseare the ones that like fell
under our fingers or felt themost kind of natural.
A couple of them took a littlebit more work to recreate.
(06:56):
Live like the dreamer was onethat we really we had to work on
the feel of that quite heavilyfor it to translate and that
comes down to like the rightguitar tones and the arrangement
live.
But I mean, you know, when we'rerecording, sometimes there can
be like 10 or 11 guitar takesthat we make into a mix and
they're just like panned or theycome in and out different tones
(07:19):
, different kind of dynamics.
So then it's about pinpointinglike which two guitar parts we
would take and how they interact.
So certainly that was like atrickier one, but we've, the
more we play it, the more itbeds in and we decided to play
quite a lot of new ones on thistour.
Um, like we've done over 50percent of new material and then
(07:41):
the rest from the first tworecords.
So the first like couple ofnights I didn't like usually I
would kind of worry, but theyfelt quite naturally bedded in
from day one.
And then they, they just get alittle bit tighter and you stop
thinking about your part andmore about the performance at
that point.
colleyc (07:59):
But um, it's definitely been a bit of rehearsal time
like invested in how much matt,do you do of rehearsal, like
before you head out on tour, tokind of like, all right, you're
gonna do this, I'll do this,okay, and like how, how many
days do you spend doing that?
Pale Blue Eyes (08:13):
like quite a lot because lewis, um the the
fourth member live player, umlewis kellett, who joined
probably about a year ago now,um live shows.
We do the.
So generally what would happenis he would come over and lucy,
me and lewis would go throughthe multi-tracks and work out
(08:34):
exactly like what guitar partswe should take and what, because
he plays organ and synthesizeras well, and we would arrange
that like in advance.
And then Orbs come in and we'lldo like fairly consistent and
regular rehearsals in the leadup.
So, yeah, we do put a lot oftime into that because it's
loads of fun as well.
Like we just enjoy that part ofit.
colleyc (08:54):
I I see too, like with so many guitars too, like you're
having to, like you can't have20 guitarists up on stage, right
, it's just I mean I'd love that.
Pale Blue Eyes (09:02):
But right, you know, we can't afford a bigger
van.
colleyc (09:07):
So you'd have to get like a u-haul, or you know,
passenger van or some bus orsomething.
Um and lucy, tell me how it allstarted.
Like, how did the pale blueeyes come to be what?
What's your origin story?
If you could share that with us?
Pale Blue Eyes (09:24):
um, it's quite.
It is sort of funny in a waybecause we, me and matt have
always played music together indifferent projects and matt's
had various projects over theyears and then I kind of joined
a previous band as the drummerand, um, at the end there was a
sort of there was a sort ofperiod of time where one project
had finished and I suppose outof that grew like Pale Blue Eyes
(09:45):
.
But we were down at Startpointwith our friend, I think.
Well, our friend Chris had astudio down at Startpoint in
Devon and we went down there todo some demoing of some new
track ideas.
I think we'd got some PRSfunding so we could afford to do
a few days in a studio, likemix rates kind of thing.
And we said to Aubrey we kindof knew Aubrey from Totnes as
(10:07):
like a photographer because he'dbeen taking pictures at Sea
Change Festival which we'd beenplaying at and working at.
So anyway, he came down tostart point with us to kind of
take photos of that.
Um, the, the guy who was meantto come down to play bass for
the session, actually justoverslept and was ringing us
going.
(10:27):
I'm so sorry, I'm still inlondon, so I'll be like four or
five hours and we were like,okay, well, that's kind of like
half the day gone.
So just sort of said, look, Ithink you've kind of missed the
day, so we'll be.
Well, I've started learningbass recently like I'll have a
go at like just putting someroot notes in or whatever.
And he literally had neverheard the stuff before and just
(10:48):
joined in with I don't knowmaybe six tracks we were demoing
and just immediately was likeabsolutely nailing it and
playing it perfectly.
And we would, me and Matt werejust a bit like, hey, hang on a
sec.
So then we started rehearsingtogether and we actually,
ironically, were rehearsingwithout any gigs, but any plan
we made we didn't have like aband name.
(11:09):
None of those songs that wedemoed in in that start point
session ever really came tolight.
That was just like a wall in umand we rehearsed for like six
months all these different tunesand like started demoing and
tracking stuff without reallyany idea what we were doing.
Like there were no gigs oranything, there was no plan.
(11:29):
But then in just doing that Ithink well, me and matt sort of
eventually had found ourselveswhere we were in a position
where we kind of had an album'sworth of stuff, but Aubrey was
at uni then, so I think quite alot of the sort of writing and
producing was us, but Aubrey wasjust well up for getting in a
rehearsal room and playing allthis live.
(11:50):
So we started doing that.
And then I think we only had ahandful of gigs before lockdown
and COVID happened.
So actually in a weird way wewere quite and so it was a very
new project and we we had nomaterial online.
We had no we've done maybe likesix gigs or something.
And then it was just this weirdphenomenon phenomena over
(12:12):
lockdown where we put a singleout and I remember it going nuts
on Bandcamp.
We did a limited seven inch andwe just everyone just ordered
it straight away because, Idon't know, because it was
lockdown, people were getting alot of joy out of right into
records at home and I rememberthat was kind of a really
exciting contrast to the factthat Covid was a nightmare and
(12:35):
our personal situation wasn'tthat easy at that time, but we
had this little beacon of paleblue eyes, the light at the end
of the tunnel a bit.
colleyc (12:43):
Yeah, that's cool.
And do you guys writecollaboratively or like, how do
pale blue eyes approachsongwriting?
What's your process in that,like, do you get a line in your
head first, or is it a series oflyrics, or is it a combo of
each?
Can you walk us through alittle bit of how does a song
come to be in Pale Blue Eyes?
Pale Blue Eyes (13:03):
It could be any one of those things that you've
just described, but usually thewet work, because I'm writing
all the time and I'm kind ofnoting things down in books, or
if there's a particularexperience, lived experience or
a thing that I see, or or like aseries of words that sound all
right, I'll put, I'll note itall down and just kind of like
keep it somewhere.
(13:24):
I generally approach itwhenever I've got like a free
few days, because it alwaystakes me a day to kind of like
get my head into it and to findsome kind of like way in or or a
flow.
And then I will, I'll justgenerate as many ideas as I
possibly can all the time andthen bring them to Lucy and
Aubrey and then Lucy kind ofhacks away at it and produces it
(13:47):
a bit and works on structure,and we're not like that precious
at the early stage, other thanlike if it feels good
instinctively, then we'llcontinue working with it.
But if there's like out of 10songs that I write, often
there'll be one or two that willcarry forward.
Um, so my way is always just tonot dwell on it, like write a
song, write an idea, if there'sa kind of like concept and feel
(14:11):
around it.
Then that kind of is enough asa start, as a starting point,
and then, like the lyrics candevelop over months and you know
, right up until I'm doing thefinal lead vocal, I could be
rewriting lyrics and words andrearranging things.
So it's very, in that sense,it's like pretty organic and
over time a few songs just fallout, like now and again on this
(14:34):
record I've wrote, like when wewere surrounded by boxes moving
out of, uh, our family home andthe only thing like bit of a
cliche, but the only thing thatwas left was the acoustic guitar
and I just like picked up andlooked out the window and wrote
that song, um, that was reallyeasy.
It just kind of happened um,and then other songs on this
record I've.
I've written like a kind ofhappened, um, and then other
(14:54):
songs on this record.
I've I've written like astructure of a song and then
we've brought into the studioand there's a band performed it
live, um, sang like a guidevocal and then re-sung the vocal
at the end and then there'ssome that are more like when I
think of half light from thealbum.
That started off as one thing.
(15:15):
It started off as a very kindof indie rock sounding track and
I remember just having a bit ofan epiphany where I was like,
hang on, I could pull all thisstuff out and put loads of
synths in and it kind of turnedit on its head and we added this
whole like two or three minutesat the end where it was just a
synth like mash out more of likea construction thing where we
(15:37):
kind of built that, whereasscrolling and rituals were like
we all, like matt says, we allgot together for a few days over
summer and actually didrecorded those with tom and
lewis, so there's actually acouple of extra players adding
different kind of new flavours.
But I think this album is thefirst time where we did
experiment a bit more withdifferent ways in of writing,
(16:00):
because I remember before we hadour studio space up and running
, me and Matt set up two setups.
We had a setup in our spareroom and then a setup in our
bedroom.
For me that was like synths anda sound card and then yours was
more like microphone guitarsand we tried really hard to see
if we could do it flip it on itshead and if I could come up
(16:22):
with any like chord progressionsthat matt then put lyrics to,
and I think I did loads of stuffthat didn't come to anything,
but I think there's like onetrack on there, yeah.
So I think through that processof saying let's try another way
in, because, like, we've donethree albums where matt's
written like in that way andthen we've produced it and and
(16:44):
then we'll send stuff to aubreyremotely because it was locked
down.
I think this time around it wasreally fun to have we've got.
So we've written that album,the latest album, in like three
or four different kind of ways,if you see what I mean.
So I think it's been.
I find that we've found a fewdifferent gears, hopefully just
because we've tried a fewdifferent ways, and obviously
(17:06):
we'll continue to try and dothat as well.
It kind of keeps it creative andinteresting for us.
We also had Tom, a friend ofours, tom sharkett, who's a
producer, um composer, writer,performer.
He came in and did some somestuff as well.
So it was it was really nice tohave other people in the room
because obviously the way wemade over lockdown was was us
(17:28):
just um walking up to the studioin the morning and it was like
amazingly creative time, eventhough it was a difficult time
where we we made it just reallyjust the two of us initially, so
to to branch out and do it inthis way.
I think we want to explore thatmore for the for the next
record yeah, yeah, interesting.
colleyc (17:46):
Yeah, I was gonna ask too, like, have you found that
over over the record's, thatprocess is getting easier and is
it changing?
Is it influencing, um, how yougo about songwriting, like, are
you coming up?
Are you getting closer to, Iguess, like a I I don't like
saying formula, but it's kind oflike a structure that we, like
(18:07):
you know, like we've, we've,we've, you know chiseled this
out in this kind of style reallyworks, of how we go through our
process.
Have you come more to that and,if so, has that changed the
sound of your records over overthe three records that you put
out?
Pale Blue Eyes (18:22):
I definitely feel there's like a default
process that I can go to, butthere's like a writing everyday
thing and then it's kind of likeworking out how, what, what
would make that song the bestsong it could be whether it
would be like band playing inroom or it depends in the
context of the song and likewhat, what suited to.
But, um, I definitely feel like, um, one thing that we do is
(18:46):
like take the pressure off now alittle bit, because we uh, it
will happen when it happens anda little natural break from
writing over the last likecouple of months and I'm
definitely feeling like inspiredto want to do it again.
But I think it's just ways, evenif it's not like you're re.
You're not reinventing thewheel, but you're just finding
like a unique way for yourselfto come back into it.
I think that's probably asexciting as like knowing my
(19:09):
default method, because I couldprobably um, I could probably
write another record like thatagain, but but I don't want to.
So if I've got that in the backof my mind at least, even if it
comes out like it, like I wantto try something different every
time, I at least do my bit.
colleyc (19:26):
Sure and Matt, how do you push yourself to do that?
Like, how do you, you know,because I mean, I wrote songs
too in the past and you do get akind of a structure or kind of
a style, and I too in in thepast and you do get a kind of a
structure or kind of a style,and I remember when I'm like,
okay, I'm doing this style toomuch, I want to try to and I
would try weird things, you know, like just playing around with
with you know, sound files or oroutside soundscape stuff like
(19:49):
that, just to kind of getinspired.
How do you go about, like, youknow how your other songs have
sounded, how do you go aboutseeing if you can tweak them a
little bit or approach them in adifferent way?
Or what's your process with?
Pale Blue Eyes (20:02):
that that kind of thinking, like what you're
saying, is how I'd approach it.
Like maybe found sound mighteven start, so it might start
the song, but it might end upbeing like a standard pop
structure.
I think it's just like, not liketrick, tricking your mind into
doing something different, butjust like at least if you, if
you kind of approach like.
(20:23):
So, for instance, I don'treally play the piano very well,
so my target will be to learnthe piano and write a song on an
organ piano, rather than justgoing to the guitar or starting
with just the voice and likelayering up vocals.
And then I think thecollaborative process is
exciting as well, because I'llgive it to loose and then it
will end up being a differentthing and then we'll bring it to
(20:44):
the room and it will be adifferent thing again.
So I think the bit that I enjoythe most is like if I write a
core song, then dynamically andstructurally it could change by
the time.
It's like performed together,because then it's different
personalities as well, and Ithink this is why pb works,
because there are reallyinteresting dynamic
personalities within the groupright, right.
colleyc (21:06):
and lucy, when do when do you know?
Matt is on to a song like howdo you, how do you receive it?
And and know that, okay, thishas legs to it.
Like, what does it need to havein it that sparks?
Yeah, this is a pale blue eyessong.
Thanks, matt, let's play withit now.
Pale Blue Eyes (21:22):
Yeah, let's go.
I try really hard to just trustmy gut with that.
And I think through years andyears and years of working
together and years and years oflistening to so much music.
And I think that's the thing isyou assimilate, don't you?
Constantly?
Every time you hear somethingthat you go hang on.
(21:42):
What is it about this trackthat I love?
Each time it's like, as amusician, I think you're kind of
filing everything and going Ilove that guitar tone on that
Durruti column track or I lovethat ML book record and you're
constantly filing those liketones and sounds.
And then I think, and then youkind of pull all of that into
(22:03):
what you're trying to do.
And I think if I have that forme it's like if I listen to a
demo Matt's done and I have thatsame reaction as I do to any
track, then I kind of know thatI like it and I'm onto something
, even if it's just me thatlikes it.
Right, I think you have to trustthat mentality in a way of, of
(22:23):
what something is drawing you toit.
And then, especially if webring it to aubrey and the same
thing happens again, where andthis time was particularly good
for that I thought, on thelatest record we all landed on
the same ones as our favorites,which was a really interesting
sign where we all met in thisplace musically, because
Aubrey's got totally differenttaste to us as well.
(22:44):
So it's quite interestingbecause me and Matt really
bonded over music like veryearly on in our relationship.
I remember seeing his he hadlike a wall in his bedroom of
CDs and I just used to be likeoh my God, broken social scene,
sea power, slow down, and wekind of bonded over all of those
same things that we had incommon, whereas Aubrey comes
(23:06):
from like a disco, soul, r&b,jazz background.
So it's like really interestingwhen it all crosses over.
colleyc (23:14):
Yeah, absolutely.
I love that.
It sounds too like your band isreally you're in flow right now
, like you all understand whateach member brings and when you
come together, it just, it'smagical, you know, it just
starts to happen, likeunderstanding one another.
Pale Blue Eyes (23:29):
It does feel like that and I think also, I
think through again.
As you get older and you havemore experiences and stuff, I
think you realise things thatyou don't take for granted and
like we know that we're lucky tohave met these people and we
know that we're lucky that weall bring a different bit to it,
and I think bands can kind ofimplode and go wrong when
(23:49):
someone thinks that they're it.
And I like the fact thateveryone brings something
different and no one's got theego of being like.
This is my thing, this is how Iwrote it.
colleyc (24:02):
This is how it gets played.
Like, I totally hear you onthat and I mean I've talked to
many bands and that tends to bethe contentious when one person
is trying to be the band's me,you know, rather than a
collective of differentexperiences coming together.
Very interesting.
This has been reallyfascinating, guys.
And I have one last question tokind of wrap things up here how
(24:26):
have you felt the reception hasbeen of the latest release that
you guys put out, new Place?
How do you find the reactionhas been with all that work and
all of the?
You know?
I mean it's no small task toput a record out.
You've done it three times.
How have you found this one'sbeen received?
Pale Blue Eyes (24:44):
Like it's basically a privilege to be able
to play music anyway.
So the fact people can supportus and it's well enough received
that we could potentially makeanother record is basically like
we're living the dream.
So I can only say thanks toeveryone that's come to our gigs
and bought our records and thatchats to us at the merch table
(25:05):
afterwards, because it is likeit's basically our social,
social life as well, our job andwe and if we weren't in a band,
we'd be going to watch you knowgigs.
So yeah, we're really pleasedand I we'd be going to watch you
know gigs.
So, yeah, we're really pleasedand I think we've been as honest
as we possibly can be on thisrecord and we've put it out on
our own label.
So it's been like a bit moregraft in terms of like getting
(25:27):
that side of things done, but,yeah, feeling really pleased and
like, yeah, the tour has beenreally fun.
colleyc (25:33):
So yeah, and the rest of the 2025, 2025,.
What could your fans, or futurefans, what can they expect out
of Peel Blue Eyes?
Pale Blue Eyes (25:43):
So we've got a few more little releases coming
out which will be announced soon, like a limited single and some
stuff which I can't completelyannounce now until it goes out,
but a few little bits and bobs.
And then we're doing anotherEuropean megatator opening for
the midnight around someunbelievable venues around
europe, which will be an amazingexperience.
(26:05):
So, yeah, we've got that.
And then a few uk festivalswhich will be announced.
So yeah, just um, leading up tothat, busy you're getting busy,
you're gonna get busy not crazybusy, it's a nice nice
where we couldn't quite catch upwith ourselves because we just
felt like we were continuouslyin in our little bilingue,
(26:28):
driving to gig after gig aftergig, and I think we had to do
that, we had to say yes toeverything in tour loads and gig
loads.
But but this year feels a bitmore of a I mean other than what
Matt's labelled as the megatour.
In September, October, that isgoing to be a mega tour.
That's like 20 dates.
I think it's similar in scaleto the slow dive tour.
(26:50):
We're actually going out, Ithink, about a week or to do our
own headline shows, and then wejoin up with the support leg in
helsinki.
So we, so we start in polandand work across from poland to
helsinki, and what am I?
22 dates from there.
colleyc (27:06):
So um, just think of all the great stories and and
songs that yeah purple out ofthat.
I mean, what an experience I.
I, I totally see like I see youguys as as as having the, the,
the moxie to get out there anddo it and I really just sending
all the best to you guys.
Excellent record.
(27:28):
Um, I, I wish I could see youguys on tour.
Maybe eventually down the roadyou'll make your way over to
North America.
Pale Blue Eyes (27:34):
I'll be waiting.
colleyc (27:35):
I'll be waiting, but an excellent record, just such a,
from start to finish, just itflows so nicely and it's just,
it's powerful, and I reallyreally have been enjoying it.
I thank you guys again, too,for joining me today.
It's been really nice to chatwith you guys.
I love talking about yourprocess and how songs come
(27:56):
together and bands evolve, and,um, you've really, um,
enlightened us on a lot ofthings about pale blue eyes, so
thank you for that.
Well, thanks for having ushaving us great time.
All the best, good luck on yourtours in 2025 and when your
next next record comes out,we'll be sure to uh to have you
back on.
Pale Blue Eyes (28:13):
We'll talk about it well, thank you, thanks,
very much thanks.
Some kind of sign Words don'twork here.
(28:45):
The language marks the only tosay Chris, I'm rooted to the
(29:10):
spot An effect.
It has brings out everything.
I'm not the path.
Your words are visible, arereal.
The past the present collide.
(29:36):
The past the present collide.
Can I let go?
Can I let go?
Can I let go?
Past the present collide, pastthe present collide.
Can I let go?
Can I let go?
Guitar solo.
Thank you, it's the sound ofthe show.
(30:51):
The past, the present, the life,the past, the present, the life
Cannot let go.
Cannot let go.
The past, the present, the life, the past.
Past the present can lie, pastthe present can lie.
Can I let go?
Can I let go?
(31:48):
We'll be right back, thank you.
How long is now a question?
What's in front of me?
The time it takes to see forwhat it really is.
Am I leaping in the past?
colleyc (00:30):
So welcome back everyone to another episode of
the podcast Reaching across thepond again.
So many amazing UK artists thatI've had the privilege of
talking with and them coming andsharing their story Today no
exception.
Privilege of talking with them,them coming and sharing their
story today, no exception.
Uh, pale blue eyes, um, out ofSheffield, the UK, out of, uh,
united Kingdom, and they'recoming in.
(00:52):
Uh, this is a great alternativedream pop.
Uh, I throw shoegaze synth popin there as well.
Just the beautiful arrangementof of sounds and vocals.
Um, sure to satisfy any weekendlistener.
You know you've got some timeon your hands.
You want to kick back on thecouch, have a beer, coffee and
listen to this record.
Uh, it will do some specialstuff for you.
(01:15):
So thanks, guys.
I have a Matt and Lucy herefrom hill blue eyes.
Um, I really, uh, I've beenlooking forward to this chat.
Pale Blue Eyes (01:28):
How are you?
I really I've been lookingforward to this chat.
How you guys doing today, right?
Yeah, we've just literally comeback from the UK UK leg of our
tour, so I just had a nap infront of the football actually
before we came on.
colleyc (01:36):
That's the best sports, kind of in the background a
little snoozy.
Pale Blue Eyes (01:42):
it always sends me off like I'm like right, I've
got to stay up and watch thisfootball match or whatever it is
, and it just sends me.
colleyc (01:51):
It brings you to a better place?
Maybe so, matt.
How did that go?
How did the reception go on theroad?
How did things go?
What was your reception?
Give us a little describer ofall of that.
Pale Blue Eyes (02:07):
We had so much fun and I think we're very like.
We're just like we're missingthe guys already.
I just made a round of teas foreveryone and there's only two
of us left in the house, so oneof those like we're very, very
lucky to be on the road with ourbest mates and that like runs
throughout the whole camp and wehad an amazing team around us.
(02:29):
The gigs were really fun,visited some places that we'd
been before, finished up in theIslington Assembly Hall in
London, which was like ourbiggest UK kind of venue to date
.
So that was a really amazingway to finish off the tour.
But yeah, it was.
It's been a lovely couple ofweeks.
We did a made a veil sessionright at the beginning on six
(02:55):
music for Riley and co, so westarted there and then in London
.
So yeah, it's been an amazingcouple of weeks.
Wow, wow.
colleyc (03:03):
And Lucy, do you have any fun stories you can tell us
about?
That time on tour of weirdsituations, a funny story um a
chance encounter, uh, didanything out of the ordinary
happen other than just all thefun?
Pale Blue Eyes (03:18):
let me think.
I mean we nearly missed one ofthe gigs because the traffic was
so bad, but that was less funnyand more stressful.
Your sister's birthday, yeah itwas my sister's.
It was the night before mysister's birthday, brizinton, so
we had a good posse at the last, at the last show, drinking
prosciutto backstage, so thatwas quite a finish off on a high
(03:41):
, I don't know really.
It's, it's been justconsistently fun all the way
through and I think uh, I can'treally think of any funny
stories I mean we're literallyentertained 24 7 by our bass
player aubrey.
colleyc (03:58):
He's absolutely hilarious and like has so much
energy that like when we comehome and he goes home, it just
seems so quiet it's always goodto have one of those in the band
, a one of those members thatjust kind of, yeah, free play
and, uh, prologue, monologue, alot of the time, yeah, like we
(04:19):
definitely take advantage of theuh, the fun opportunities.
Pale Blue Eyes (04:22):
and it is like, since we did that really long
european tour like, um, thedriving, like driving two, three
hours now just seems likeyou're going to the local shops
because we were doing quite longdrives around europe and like
this was so we've yeah, I thinkwe've just like we kind of know
uk touring now so we know whenwe can let our hair down a bit
(04:45):
and we did like a really funadventure on this one.
But I think just playing themusic is and playing the show is
the big thing for us.
So and everything you know,because we're such good mates,
everything is just like one bigparty.
colleyc (05:02):
Do you find that as the tour goes on, the songs change
a little bit, new flavors arebrought in, or or do you try to
maintain them as as they are?
Pale Blue Eyes (05:12):
I think it doesn't actually happen.
I think often that people oftensay about how they wish that
you could record an album, tourit for a year and then record it
again, because it's like youwhen you record it's, it's a
really good way of sort ofimprinting things and like lock
things in.
So then you go into playing itlive with a certain kind of I
(05:33):
don't know.
There's like a deep kind ofknowing of the songs.
You know them so well that it'sjust you don't even think when
you're playing them.
Um, but then in playing themlive, like you say, they just
naturally evolve and I thinkthen by the end like just little
subtleties creep in, likethings that I do when I'm
drumming, that I just startaccenting certain things, or
like me and all just dosomething together.
(05:53):
That will just become a thingwe do every night and then at
the end of it you think, god, Iwish we could record it again
like that, but it just takes ona new version of it.
colleyc (06:04):
I suppose right, yeah, I mean the saturation too is, as
you mentioned, of just puttinga record out.
I mean you hear every littledetail and everything.
So, um, focused on that, itmust be.
Um, is it hard to to tounshackle yourself from, from
the master, from the, theoriginals?
(06:25):
Um, like is, is that a task todo or is it come, like you were
mentioning, lucy, that you findlittle moments to add things in?
Pale Blue Eyes (06:34):
We rehearsed them quite a lot before.
We rehearsed the whole albumand generally we'll feel them
out in the room and if there's asong that doesn't kind of
translate live, we just won't,we won't really play it.
So I think at the moment theseare the ones that like fell
under our fingers or felt themost kind of natural.
A couple of them took a littlebit more work to recreate.
(06:56):
Live like the dreamer was onethat we really we had to work on
the feel of that quite heavilyfor it to translate and that
comes down to like the rightguitar tones and the arrangement
live.
But I mean, you know, when we'rerecording, sometimes there can
be like 10 or 11 guitar takesthat we make into a mix and
they're just like panned or theycome in and out different tones
(07:19):
, different kind of dynamics.
So then it's about pinpointinglike which two guitar parts we
would take and how they interact.
So certainly that was like atrickier one, but we've, the
more we play it, the more itbeds in and we decided to play
quite a lot of new ones on thistour.
Um, like we've done over 50percent of new material and then
(07:41):
the rest from the first tworecords.
So the first like couple ofnights I didn't like usually I
would kind of worry, but theyfelt quite naturally bedded in
from day one.
And then they, they just get alittle bit tighter and you stop
thinking about your part andmore about the performance at
that point.
colleyc (07:59):
But um, it's definitely been a bit of rehearsal time
like invested in how much matt,do you do of rehearsal, like
before you head out on tour, tokind of like, all right, you're
gonna do this, I'll do this,okay, and like how, how many
days do you spend doing that?
Pale Blue Eyes (08:13):
like quite a lot because lewis, um the the
fourth member live player, umlewis kellett, who joined
probably about a year ago now,um live shows.
We do the.
So generally what would happenis he would come over and lucy,
me and lewis would go throughthe multi-tracks and work out
(08:34):
exactly like what guitar partswe should take and what, because
he plays organ and synthesizeras well, and we would arrange
that like in advance.
And then Orbs come in and we'lldo like fairly consistent and
regular rehearsals in the leadup.
So, yeah, we do put a lot oftime into that because it's
loads of fun as well.
Like we just enjoy that part ofit.
colleyc (08:54):
I I see too, like with so many guitars too, like you're
having to, like you can't have20 guitarists up on stage, right
, it's just I mean I'd love that.
Pale Blue Eyes (09:02):
But right, you know, we can't afford a bigger
van.
colleyc (09:07):
So you'd have to get like a u-haul, or you know,
passenger van or some bus orsomething.
Um and lucy, tell me how it allstarted.
Like, how did the pale blueeyes come to be what?
What's your origin story?
If you could share that with us?
Pale Blue Eyes (09:24):
um, it's quite.
It is sort of funny in a waybecause we, me and matt have
always played music together indifferent projects and matt's
had various projects over theyears and then I kind of joined
a previous band as the drummerand, um, at the end there was a
sort of there was a sort ofperiod of time where one project
had finished and I suppose outof that grew like Pale Blue Eyes
(09:45):
.
But we were down at Startpointwith our friend, I think.
Well, our friend Chris had astudio down at Startpoint in
Devon and we went down there todo some demoing of some new
track ideas.
I think we'd got some PRSfunding so we could afford to do
a few days in a studio, likemix rates kind of thing.
And we said to Aubrey we kindof knew Aubrey from Totnes as
(10:07):
like a photographer because he'dbeen taking pictures at Sea
Change Festival which we'd beenplaying at and working at.
So anyway, he came down tostart point with us to kind of
take photos of that.
Um, the, the guy who was meantto come down to play bass for
the session, actually justoverslept and was ringing us
going.
(10:27):
I'm so sorry, I'm still inlondon, so I'll be like four or
five hours and we were like,okay, well, that's kind of like
half the day gone.
So just sort of said, look, Ithink you've kind of missed the
day, so we'll be.
Well, I've started learningbass recently like I'll have a
go at like just putting someroot notes in or whatever.
And he literally had neverheard the stuff before and just
(10:48):
joined in with I don't knowmaybe six tracks we were demoing
and just immediately was likeabsolutely nailing it and
playing it perfectly.
And we would, me and Matt werejust a bit like, hey, hang on a
sec.
So then we started rehearsingtogether and we actually,
ironically, were rehearsingwithout any gigs, but any plan
we made we didn't have like aband name.
(11:09):
None of those songs that wedemoed in in that start point
session ever really came tolight.
That was just like a wall in umand we rehearsed for like six
months all these different tunesand like started demoing and
tracking stuff without reallyany idea what we were doing.
Like there were no gigs oranything, there was no plan.
(11:29):
But then in just doing that Ithink well, me and matt sort of
eventually had found ourselveswhere we were in a position
where we kind of had an album'sworth of stuff, but Aubrey was
at uni then, so I think quite alot of the sort of writing and
producing was us, but Aubrey wasjust well up for getting in a
rehearsal room and playing allthis live.
(11:50):
So we started doing that.
And then I think we only had ahandful of gigs before lockdown
and COVID happened.
So actually in a weird way wewere quite and so it was a very
new project and we we had nomaterial online.
We had no we've done maybe likesix gigs or something.
And then it was just this weirdphenomenon phenomena over
(12:12):
lockdown where we put a singleout and I remember it going nuts
on Bandcamp.
We did a limited seven inch andwe just everyone just ordered
it straight away because, Idon't know, because it was
lockdown, people were getting alot of joy out of right into
records at home and I rememberthat was kind of a really
exciting contrast to the factthat Covid was a nightmare and
(12:35):
our personal situation wasn'tthat easy at that time, but we
had this little beacon of paleblue eyes, the light at the end
of the tunnel a bit.
colleyc (12:43):
Yeah, that's cool.
And do you guys writecollaboratively or like, how do
pale blue eyes approachsongwriting?
What's your process in that,like, do you get a line in your
head first, or is it a series oflyrics, or is it a combo of
each?
Can you walk us through alittle bit of how does a song
come to be in Pale Blue Eyes?
Pale Blue Eyes (13:03):
It could be any one of those things that you've
just described, but usually thewet work, because I'm writing
all the time and I'm kind ofnoting things down in books, or
if there's a particularexperience, lived experience or
a thing that I see, or or like aseries of words that sound all
right, I'll put, I'll note itall down and just kind of like
keep it somewhere.
(13:24):
I generally approach itwhenever I've got like a free
few days, because it alwaystakes me a day to kind of like
get my head into it and to findsome kind of like way in or or a
flow.
And then I will, I'll justgenerate as many ideas as I
possibly can all the time andthen bring them to Lucy and
Aubrey and then Lucy kind ofhacks away at it and produces it
(13:47):
a bit and works on structure,and we're not like that precious
at the early stage, other thanlike if it feels good
instinctively, then we'llcontinue working with it.
But if there's like out of 10songs that I write, often
there'll be one or two that willcarry forward.
Um, so my way is always just tonot dwell on it, like write a
song, write an idea, if there'sa kind of like concept and feel
(14:11):
around it.
Then that kind of is enough asa start, as a starting point,
and then, like the lyrics candevelop over months and you know
, right up until I'm doing thefinal lead vocal, I could be
rewriting lyrics and words andrearranging things.
So it's very, in that sense,it's like pretty organic and
over time a few songs just fallout, like now and again on this
(14:34):
record I've wrote, like when wewere surrounded by boxes moving
out of, uh, our family home andthe only thing like bit of a
cliche, but the only thing thatwas left was the acoustic guitar
and I just like picked up andlooked out the window and wrote
that song, um, that was reallyeasy.
It just kind of happened um,and then other songs on this
record I've.
I've written like a kind ofhappened, um, and then other
(14:54):
songs on this record.
I've I've written like astructure of a song and then
we've brought into the studioand there's a band performed it
live, um, sang like a guidevocal and then re-sung the vocal
at the end and then there'ssome that are more like when I
think of half light from thealbum.
That started off as one thing.
(15:15):
It started off as a very kindof indie rock sounding track and
I remember just having a bit ofan epiphany where I was like,
hang on, I could pull all thisstuff out and put loads of
synths in and it kind of turnedit on its head and we added this
whole like two or three minutesat the end where it was just a
synth like mash out more of likea construction thing where we
(15:37):
kind of built that, whereasscrolling and rituals were like
we all, like matt says, we allgot together for a few days over
summer and actually didrecorded those with tom and
lewis, so there's actually acouple of extra players adding
different kind of new flavours.
But I think this album is thefirst time where we did
experiment a bit more withdifferent ways in of writing,
(16:00):
because I remember before we hadour studio space up and running
, me and Matt set up two setups.
We had a setup in our spareroom and then a setup in our
bedroom.
For me that was like synths anda sound card and then yours was
more like microphone guitarsand we tried really hard to see
if we could do it flip it on itshead and if I could come up
(16:22):
with any like chord progressionsthat matt then put lyrics to,
and I think I did loads of stuffthat didn't come to anything,
but I think there's like onetrack on there, yeah.
So I think through that processof saying let's try another way
in, because, like, we've donethree albums where matt's
written like in that way andthen we've produced it and and
(16:44):
then we'll send stuff to aubreyremotely because it was locked
down.
I think this time around it wasreally fun to have we've got.
So we've written that album,the latest album, in like three
or four different kind of ways,if you see what I mean.
So I think it's been.
I find that we've found a fewdifferent gears, hopefully just
because we've tried a fewdifferent ways, and obviously
(17:06):
we'll continue to try and dothat as well.
It kind of keeps it creative andinteresting for us.
We also had Tom, a friend ofours, tom sharkett, who's a
producer, um composer, writer,performer.
He came in and did some somestuff as well.
So it was it was really nice tohave other people in the room
because obviously the way wemade over lockdown was was us
(17:28):
just um walking up to the studioin the morning and it was like
amazingly creative time, eventhough it was a difficult time
where we we made it just reallyjust the two of us initially, so
to to branch out and do it inthis way.
I think we want to explore thatmore for the for the next
record yeah, yeah, interesting.
colleyc (17:46):
Yeah, I was gonna ask too, like, have you found that
over over the record's, thatprocess is getting easier and is
it changing?
Is it influencing, um, how yougo about songwriting, like, are
you coming up?
Are you getting closer to, Iguess, like a I I don't like
saying formula, but it's kind oflike a structure that we, like
(18:07):
you know, like we've, we've,we've, you know chiseled this
out in this kind of style reallyworks, of how we go through our
process.
Have you come more to that and,if so, has that changed the
sound of your records over overthe three records that you put
out?
Pale Blue Eyes (18:22):
I definitely feel there's like a default
process that I can go to, butthere's like a writing everyday
thing and then it's kind of likeworking out how, what, what
would make that song the bestsong it could be whether it
would be like band playing inroom or it depends in the
context of the song and likewhat, what suited to.
But, um, I definitely feel like, um, one thing that we do is
(18:46):
like take the pressure off now alittle bit, because we uh, it
will happen when it happens anda little natural break from
writing over the last likecouple of months and I'm
definitely feeling like inspiredto want to do it again.
But I think it's just ways, evenif it's not like you're re.
You're not reinventing thewheel, but you're just finding
like a unique way for yourselfto come back into it.
I think that's probably asexciting as like knowing my
(19:09):
default method, because I couldprobably um, I could probably
write another record like thatagain, but but I don't want to.
So if I've got that in the backof my mind at least, even if it
comes out like it, like I wantto try something different every
time, I at least do my bit.
colleyc (19:26):
Sure and Matt, how do you push yourself to do that?
Like, how do you, you know,because I mean, I wrote songs
too in the past and you do get akind of a structure or kind of
a style, and I too in in thepast and you do get a kind of a
structure or kind of a style,and I remember when I'm like,
okay, I'm doing this style toomuch, I want to try to and I
would try weird things, you know, like just playing around with
with you know, sound files or oroutside soundscape stuff like
(19:49):
that, just to kind of getinspired.
How do you go about, like, youknow how your other songs have
sounded, how do you go aboutseeing if you can tweak them a
little bit or approach them in adifferent way?
Or what's your process with?
Pale Blue Eyes (20:02):
that that kind of thinking, like what you're
saying, is how I'd approach it.
Like maybe found sound mighteven start, so it might start
the song, but it might end upbeing like a standard pop
structure.
I think it's just like, not liketrick, tricking your mind into
doing something different, butjust like at least if you, if
you kind of approach like.
(20:23):
So, for instance, I don'treally play the piano very well,
so my target will be to learnthe piano and write a song on an
organ piano, rather than justgoing to the guitar or starting
with just the voice and likelayering up vocals.
And then I think thecollaborative process is
exciting as well, because I'llgive it to loose and then it
will end up being a differentthing and then we'll bring it to
(20:44):
the room and it will be adifferent thing again.
So I think the bit that I enjoythe most is like if I write a
core song, then dynamically andstructurally it could change by
the time.
It's like performed together,because then it's different
personalities as well, and Ithink this is why pb works,
because there are reallyinteresting dynamic
personalities within the groupright, right.
colleyc (21:06):
and lucy, when do when do you know?
Matt is on to a song like howdo you, how do you receive it?
And and know that, okay, thishas legs to it.
Like, what does it need to havein it that sparks?
Yeah, this is a pale blue eyessong.
Thanks, matt, let's play withit now.
Pale Blue Eyes (21:22):
Yeah, let's go.
I try really hard to just trustmy gut with that.
And I think through years andyears and years of working
together and years and years oflistening to so much music.
And I think that's the thing isyou assimilate, don't you?
Constantly?
Every time you hear somethingthat you go hang on.
(21:42):
What is it about this trackthat I love?
Each time it's like, as amusician, I think you're kind of
filing everything and going Ilove that guitar tone on that
Durruti column track or I lovethat ML book record and you're
constantly filing those liketones and sounds.
And then I think, and then youkind of pull all of that into
(22:03):
what you're trying to do.
And I think if I have that forme it's like if I listen to a
demo Matt's done and I have thatsame reaction as I do to any
track, then I kind of know thatI like it and I'm onto something
, even if it's just me thatlikes it.
Right, I think you have to trustthat mentality in a way of, of
(22:23):
what something is drawing you toit.
And then, especially if webring it to aubrey and the same
thing happens again, where andthis time was particularly good
for that I thought, on thelatest record we all landed on
the same ones as our favorites,which was a really interesting
sign where we all met in thisplace musically, because
Aubrey's got totally differenttaste to us as well.
(22:44):
So it's quite interestingbecause me and Matt really
bonded over music like veryearly on in our relationship.
I remember seeing his he hadlike a wall in his bedroom of
CDs and I just used to be likeoh my God, broken social scene,
sea power, slow down, and wekind of bonded over all of those
same things that we had incommon, whereas Aubrey comes
(23:06):
from like a disco, soul, r&b,jazz background.
So it's like really interestingwhen it all crosses over.
colleyc (23:14):
Yeah, absolutely.
I love that.
It sounds too like your band isreally you're in flow right now
, like you all understand whateach member brings and when you
come together, it just, it'smagical, you know, it just
starts to happen, likeunderstanding one another.
Pale Blue Eyes (23:29):
It does feel like that and I think also, I
think through again.
As you get older and you havemore experiences and stuff, I
think you realise things thatyou don't take for granted and
like we know that we're lucky tohave met these people and we
know that we're lucky that weall bring a different bit to it,
and I think bands can kind ofimplode and go wrong when
(23:49):
someone thinks that they're it.
And I like the fact thateveryone brings something
different and no one's got theego of being like.
This is my thing, this is how Iwrote it.
colleyc (24:02):
This is how it gets played.
Like, I totally hear you onthat and I mean I've talked to
many bands and that tends to bethe contentious when one person
is trying to be the band's me,you know, rather than a
collective of differentexperiences coming together.
Very interesting.
This has been reallyfascinating, guys.
And I have one last question tokind of wrap things up here how
(24:26):
have you felt the reception hasbeen of the latest release that
you guys put out, new Place?
How do you find the reactionhas been with all that work and
all of the?
You know?
I mean it's no small task toput a record out.
You've done it three times.
How have you found this one'sbeen received?
Pale Blue Eyes (24:44):
Like it's basically a privilege to be able
to play music anyway.
So the fact people can supportus and it's well enough received
that we could potentially makeanother record is basically like
we're living the dream.
So I can only say thanks toeveryone that's come to our gigs
and bought our records and thatchats to us at the merch table
(25:05):
afterwards, because it is likeit's basically our social,
social life as well, our job andwe and if we weren't in a band,
we'd be going to watch you knowgigs.
So yeah, we're really pleasedand I we'd be going to watch you
know gigs.
So, yeah, we're really pleasedand I think we've been as honest
as we possibly can be on thisrecord and we've put it out on
our own label.
So it's been like a bit moregraft in terms of like getting
(25:27):
that side of things done, but,yeah, feeling really pleased and
like, yeah, the tour has beenreally fun.
colleyc (25:33):
So yeah, and the rest of the 2025, 2025,.
What could your fans, or futurefans, what can they expect out
of Peel Blue Eyes?
Pale Blue Eyes (25:43):
So we've got a few more little releases coming
out which will be announced soon, like a limited single and some
stuff which I can't completelyannounce now until it goes out,
but a few little bits and bobs.
And then we're doing anotherEuropean megatator opening for
the midnight around someunbelievable venues around
europe, which will be an amazingexperience.
(26:05):
So, yeah, we've got that.
And then a few uk festivalswhich will be announced.
So yeah, just um, leading up tothat, busy you're getting busy,
you're gonna get busy not crazybusy, it's a nice nice
where we couldn't quite catch upwith ourselves because we just
felt like we were continuouslyin in our little bilingue,
(26:28):
driving to gig after gig aftergig, and I think we had to do
that, we had to say yes toeverything in tour loads and gig
loads.
But but this year feels a bitmore of a I mean other than what
Matt's labelled as the megatour.
In September, October, that isgoing to be a mega tour.
That's like 20 dates.
I think it's similar in scaleto the slow dive tour.
(26:50):
We're actually going out, Ithink, about a week or to do our
own headline shows, and then wejoin up with the support leg in
helsinki.
So we, so we start in polandand work across from poland to
helsinki, and what am I?
22 dates from there.
colleyc (27:06):
So um, just think of all the great stories and and
songs that yeah purple out ofthat.
I mean, what an experience I.
I, I totally see like I see youguys as as as having the, the,
the moxie to get out there anddo it and I really just sending
all the best to you guys.
Excellent record.
(27:28):
Um, I, I wish I could see youguys on tour.
Maybe eventually down the roadyou'll make your way over to
North America.
Pale Blue Eyes (27:34):
I'll be waiting.
colleyc (27:35):
I'll be waiting, but an excellent record, just such a,
from start to finish, just itflows so nicely and it's just,
it's powerful, and I reallyreally have been enjoying it.
I thank you guys again, too,for joining me today.
It's been really nice to chatwith you guys.
I love talking about yourprocess and how songs come
(27:56):
together and bands evolve, and,um, you've really, um,
enlightened us on a lot ofthings about pale blue eyes, so
thank you for that.
Well, thanks for having ushaving us great time.
All the best, good luck on yourtours in 2025 and when your
next next record comes out,we'll be sure to uh to have you
back on.
Pale Blue Eyes (28:13):
We'll talk about it well, thank you, thanks,
very much thanks.
Some kind of sign Words don'twork here.
(28:45):
The language marks the only tosay Chris, I'm rooted to the
(29:10):
spot An effect.
It has brings out everything.
I'm not the path.
Your words are visible, arereal.
The past the present collide.
(29:36):
The past the present collide.
Can I let go?
Can I let go?
Can I let go?
Past the present collide, pastthe present collide.
Can I let go?
Can I let go?
Guitar solo.
Thank you, it's the sound ofthe show.
(30:51):
The past, the present, the life,the past, the present, the life
Cannot let go.
Cannot let go.
The past, the present, the life, the past.
Past the present can lie, pastthe present can lie.
Can I let go?
Can I let go?
(31:48):
We'll be right back, thank you.
Popular Podcasts
Bookmarked by Reese's Book Club
Welcome to Bookmarked by Reese’s Book Club — the podcast where great stories, bold women, and irresistible conversations collide! Hosted by award-winning journalist Danielle Robay, each week new episodes balance thoughtful literary insight with the fervor of buzzy book trends, pop culture and more. Bookmarked brings together celebrities, tastemakers, influencers and authors from Reese's Book Club and beyond to share stories that transcend the page. Pull up a chair. You’re not just listening — you’re part of the conversation.
On Purpose with Jay Shetty
I’m Jay Shetty host of On Purpose the worlds #1 Mental Health podcast and I’m so grateful you found us. I started this podcast 5 years ago to invite you into conversations and workshops that are designed to help make you happier, healthier and more healed. I believe that when you (yes you) feel seen, heard and understood you’re able to deal with relationship struggles, work challenges and life’s ups and downs with more ease and grace. I interview experts, celebrities, thought leaders and athletes so that we can grow our mindset, build better habits and uncover a side of them we’ve never seen before. New episodes every Monday and Friday. Your support means the world to me and I don’t take it for granted — click the follow button and leave a review to help us spread the love with On Purpose. I can’t wait for you to listen to your first or 500th episode!
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com