All language subtitles for Bastille.Reorchestrated.2021.WEBRip.x264-ION10-English

Um... we are... for Bastille,

I think we're just going
to work on new music,

and we're about to tour
in Australia and New Zealand.

Yeah, I think we're just going
to do some ReOrchestrated shows

and concentrate on making--
making a really great
new album, hopefully.

What about you,
what's 2020 for you?

It's obviously been
a super surreal year.

And the idea
that a year ago, you know,

we would have been locked down
for however many months

and everyone, you know,
hiding away in their houses,

it was almost like
totally unthinkable.

And it's so interesting
seeing the world like
collectively gasp and stop.

I was like a very introspective,
self-conscious teenager,
like a lot.

And so for me, this whole, like,
this whole phase of my life

when we've been
in a band has been

this tension between
loving making music

and the satisfaction
of creating something

with, like, just really
not liking being on stage.

Suddenly, we were like...

...at the pinnacle
of whatever mainstream is,

and we'd never aimed
to that or perceived

that that was even
an option for us.

Relentlessly touring for years
and years and years,

obviously, there's moments
that are fucking amazing.

And not to say
that we're not grateful for it,

but like anything
that people do a lot,

like any job,
you come to a point

where you've just,
like, had enough.

For a band of their
size and of their popularity,

they'd done hundreds of shows
with the same model.

I'm not thinking about what
I'm playing, I'm thinking about

pulling daft faces
to try and put Will off
or something like that.

I think I was trying
to figure out what track,
which was really boring,

like four songs had gone passed,

and I hadn't even registered
that I played in it.

I don't know whether
it became boring

or whether it became
tiresome or kind of--

or samey, but ReOrchestrated
just blew that out the water.

When I was at university,
I was making

sort of linear narrative,
weird pop music at the piano,

inspired by people
like Regina Spektor
and Antony & The Johnsons...

I just met him at
a pub in Wimbledon,

and-- and, like, he was very
much on his own then.

It was a lot more left-field
sort of stuff as well

than like-- with a loop pedal.

Um, that fucking loop pedal.

We would rehearse in his
bedroom, just kind of haul
some gear down the road

and then playing to sort
of empty rooms and whatnot,

and for a period we were kind of
like Spinal Tap with drummers

where they're always
just combusting, I think
Will was like our seventh

bass player or something,
but he finally stuck.

It was presented to me as,
"There's this guy,
do you want to play for him?"

And I think the idea was,
eventually there might
be some money

to pay you,
like a session rate for it.

Then he invited me around
for dinner, because he's super,
super, like, amicable like that.

But for me that was like--

because I was sort of
a complete misanthrope,

I'm like, "What's this
guy's game?"

It was the first time for--
at that point in years

that I had just heard
something I was like,

"I really, really want to be
part of this."

But we're like, "We're going
to try make it band,

we need a keyboard player."

And so we just asked
everyone we ever met,

and the only person
who said yes was Kyle.

After I think maybe the third or
fourth time that he said that,

the next day I woke up
and I was like...

..."Maybe I'll message that--

message that-- that Dan guy."

Remember this!

Yeah, we played like
most pubs, tiny venues,

drove ourselves
up and down the country.

We used to cram everything into
a car we borrowed off our
friend's mom.

Kyle and Will would be
wedged in the back,

keyboards across them,
drums everywhere,
only Woody and I could drive,

so we had to do all the driving.

And driving five hours to get to
Wrexham to play to eight people.

Having to do a gig
was terrifying.

I think I had to get
just really shit-faced

to get out there and play.

I love you all.

He had very clear visions,

but was-- he just didn't want
anyone to know who he was.

But inside of him was all these
things that I felt everyone
should listen to.

It's like, that's trapped inside
of this, I was like,

"God, what are you going to do?"

We came up sort of
as an Indie band.

We'd get written about
quite a lot on blogs,

and people would watch our
videos and come to our gigs,

and that was like--
that felt really good.

Do you mind if we get
a photo with you guys?

No, not at all.

As you go, the venues you play

maybe go from being completely
empty to like maybe half-full

or something, and it gradually
sort of built momentum a bit.

We've just been on a-- a sort of
ten, 12 day tour of the UK.

We started in Ireland,
then Scotland,

and then like down through--
down through England.

Weirdly the whole thing
kind of sold out,

so, um, which made
the experience...

...I think a little
bit more relaxed.

We were, like, playing to

what started
to become actual crowds,

which was pretty nuts
on its own.

Bad Blood, the first album,

pretty much the whole of it
was made in my studio

under a tower block
in Battersea,

um, just like a small
industrial unit basically,
with low ceilings.

It was like the size
of someone's cupboard.

Like, you had to literally
climb over the drum kit

to get in the front door.
It was that tiny.

You're having to self-promote
and write and play music,

and it costs you money,
and you're having to do it,

you know, in and around school
or uni or work...

We basically had to go and find
time in between our day jobs
that were paying the rent.

- How you doing?
- How are you doing?

That period where I was sort of
doing that three times a week,

and getting in at three
in the morning, getting up for
a job at nine the next morning.

- New haircut.
-It's cold.

That felt like endless,
like, just interminable pain.

And then we got a record deal
and everything got
a little bit better.

Kind of stressful time,
because you're always aware

if this doesn't happen
then that's that.

It's good that they made a tweet
that was four letters too long.

-Shit.

I can go and interfere
with Kyle, that'd be funny.

Are we just doing
everything we can for the police
to come this time?

The usual things like magazines,
press, radio, TV,

um, just either
really didn't like us
or completely ignored us.

No one seems to know
where we're doing it...

...so I'm hoping,
I'm going to make a triangle...
sort of our thing,

and make it point down to where
we're going to be playing,

so then they know.

So, we've already
got one, two...

...young guys who didn't
understand what was happening,

old lady, red hair, that's five.

It's going to be more
than us already,

so... it's a--
that's a mark-up on our...

-There you go, we've done it!
Done Norwich.
-Can we leave now?

-Isn't this what we're here for?
- Why is this 100 times
more awkward than yesterday

-Or the day before.
-We were late for ourselves.

-Just a load of idiot kids.
-Yeah.

Four awkward blokes turning up
to an industrial estate in--

Is it seven? It is seven.
Yeah, it's seven.

I always just like
loved doing it.

You know there's things
that you're drawn to.

But it was also always
like kind of coupled with

what I suppose now
would probably be called,

like, lots of anxieties.

I'm not singing there.

We played Reading,
and I remember feeling like,

"Fuck, maybe we're not heavy
enough to be on the bill."

In a little tent
and it was fucking rammed,

and I remember playing
the first chords of the song...

...and the whole crowd
started singing it,

and it blew my mind.

So we put this song
called "Flaws" out.

It went in at like number 20
in the charts, which was insane.

And at the time,
like, you know, we're driving
around in a little van,

playing shows
around the country,
and we suddenly had this song

that was in like the top 40.

And I literally can't
communicate to you how...

...beyond anything
we'd imagined that was.

Goodbye, Dan!

That was fucking mental!

-That was
a little bit unexpected.
-Man, that's so weird.

There's a hole
in my heart for you, Dan.

And then at the very
beginning of 2013,

um, we put out
"Pompeii," which...

...you know, I never knew
it would do what it did,

and it just, like,
it just fucking blew up,

and it was mad, like,
who the fuck were we?

I remember listening to the
chart, they ring up the people.

- Yeah.
-To be like,
"Are you number two in the what?

You're number two."

But we're like... "Yeah!"

Hello, Bastille, how are you?

-Hi.
-We're good.

You are number two
in the Official Charts.

Yay!

The brilliant Bastille
with "Pompeii."

I really hope
they're number one next week,

such lovely boys
and such an amazing song.

On a day out with the lads
on a horse and cart.

Is that too much to ask?

Just eating
some noodles backstage
at Saturday Night Live.

I got my suit on
for the Grammy's.

Yay!

That album went to number one.

It literally changed
all our lives...

...critically,
like, it got panned.

Suddenly, all these people
had to react to this album

from this band
that they'd never really cared

or heard of...
like, obliterated us.

It's weird that at that time

that should have
been celebratory,

as someone that's a bit
of a pessimist anyway,

I think I was always expecting
it to fall apart.

For most of it, the band
wasn't signed, it wasn't like
we weren't trying

to please anyone. It was just do
what we wanted at that point.

They didn't really fit in,

so, you know, they never
were considered trendy.

That's why I want to see them
become successful

and sort of put a finger up
to everyone.

Like, "What are you,
an Indie Band? What are you?"

Like, and that's so indicative
of the slightly old school
perspective

of an arm of the music industry
and the music press at the time.

It's like, "No, but that's--
Like that's--

That's such an insane
way to think."

It's not like, "Hey, like, go,

like, go and live in your own--
go live in a little box."

As a, like, young 20-something,

who's a bag of nerves
at the best of time,

and to sort of...
fumbled his way into this-- that
position I wasn't expecting,

it fucked me up,
like... really did.

It was like such a--
it was mainly like embarrassing.

And I guess as someone
with impostor syndrome,

it didn't help with the old
impostor syndrome and, like,
levels of shame and stuff.

But it's such a cliche to have
been derailed by a bad review.

I have always been
so driven to-- to show people--

and maybe it comes
from being this weird band

that have these odd moments
that are really mainstream,

that are just the tip
of the iceberg of what we do.

And often the meat and bones
of what we do

that I think is really
interesting and exciting,

that stuff just gets lost,
and I think it's picked up on
by our fans,

but maybe lost elsewhere.

And so I feel maybe that...

...has driven me
to constantly want to

try and show people...
these other sides of what we do.

Yeah, but I actually think
even if you're doubling up,

maybe go up in inversion,
so it's...

I guess the obvious, easy thing
to do after our first record
would have been to...

...to look to more trodden paths
that exist

and work with big
established people

and take help from outside.

And it might have
been an easier route

and maybe even a bit,
like, more fun or whatever,

but I guess I felt
really set in our process,

and really proud of it. It was
ours and it had seemed to work,

so-- so we did that.

I'm very much the least
trained person in the band.

Basically, like,
sort of, management
had a word with the boys,

and they had to come
to me and say,

"Kyle, like,
you're not-- basically
you're not good enough."

But instead of just being like,
"You're gone

and we'll get someone else in."

It's-- it was...

..."This is what
we've been presented with."

If we have it on the end
and we get through
an entire song

and then at the end it fails,
then we have to do the entire
song again.

You just need to back yourself,
you'll get it right. You got
way harder parts than this.

I know sometimes there's
just a mental block thing.

And so, like, then I--

you know,
I left the pub and made calls,

and I had to go, you know,
go and get lessons.

And it leads into the fact

that Bastille is,
like, a supportive place.

And they want me to still be
part of this thing
that's happening,

so I will prove to them that,
"Yes, okay,
then I will be good enough."

If you want it,
then you just--
you just put more work in.

-Whoa!
-Vibes, vibes, come on!

You're gonna smash your heads.

I got to the place
that I was auditioning,

got introduced to the guys,

and everyone
was just really nice,

and I played the songs.

I mean, I was
absolutely terrified

because I was like, "This
is such a huge opportunity."

They called me up the next week
to say, "You've got the job."

Going into Wild World ,

the world was a different place,
there's all sorts of things
going on,

went quite-- quite big and
global on a lot of the content.

-Hey?
-How about that, mate.

The world was going
in a very strange direction.

Society felt like it was
dividing irreparably.

I felt like it would be
disingenuous to not
incorporate that a bit.

All the different single
and the little videos

and sort of stuff that we did,
were presented by this, like,

this, like,
overarching kind of ominous,

kind of conglomerate company.

This, like, fake,
evil news anchor behind us

on the big screens
kind of ranting at the audience.

When anybody...

Talking about, like,
the rise of sort of...

...populism
and that sort of thing, and, uh,

Trump, which at the time,
didn't feel like it was
going to happen, or Brexit,

and boy were we surprised
at the result of that.

That Glastonbury, 2016,

when we found out that Brexit
had happened, and I woke up

and we had to play
on stage that day,

and that's all that anyone
could think about.

We sort of realized that

people probably
go to gigs to have a break
from all that as well.

They don't need to have, like,
24/7 news media just rammed
down your throat.

Good to be here. Thank you
so much for having us today.

On this very, very weird day,
we can't think of anywhere
better to be,

so thank you so much
for coming to check us out.

Right, let's have a fucking
awesome weekend.

It's like, "Fuck,"
the people there that weekend

who were kind of in mourning
for this big change.

They didn't-- Well, you know.

"This is our last weekend
to not think about this
until it's real."

Almost. You know, festivals are
an escape, gigs are an escape.

They're, like, transportative,
that's the point.

I just had this sort of
epiphany moment.

I felt like putting
production to one side,

and putting all the concepts of
everything and stripping it
back down to just...

...just the bare
bones of the music.

Well, I was asked by this--
this amazing homeless charity

called Streets of London to do
a gig for them to raise money.

They suggested Union Chapel,
which is a venue in London in a
church that's really beautiful

and that I've been
to countless shows at

but had never been able to play,
so I was really excited
at the opportunity.

I wanted to make it special.

You can't just have a big,

full band smashing around
in the Union Chapel.

While we're at it,
we can just kind of completely
re-frame our own songs.

And I spoke to Jonny,
and he was up for,

you know, rearranging
a lot of the songs.

The whole Bad Blood era,

I guess I was just
more in the background,

you know, they were
up and coming, and there
wasn't the same scope

for, like,
adding to the live show.

Um, but it was on the back
of that album,

Dan called me up
and was just like,

"I've got an idea

for a tune that is, like,
is going to need brass,

so why don't you come down and
bring some other guys with you."

And we went down to the tiny,
little room

in Battersea and recorded
"Send Them Off!"

And, yeah,
I guess featuring on that tune

probably just gave Dan the idea

that when him and the band
went out on tour again,

it could be an idea
to have some extra musicians.

I've been in pop and rock bands
and also been in orchestras.

It was something
that I really believed could be

an exciting way of presenting
songs and arranging songs.

When Bastille came out,
turned out my mate, Woody

is the drummer. I was like,
"What, that's mental."

And they were just like,
"We need someone

who can vocalize and choir-rise

and look at the Bastille music

from a traditional standpoint
in this amount of time."

My mate was like, "Mate,"
and I was like, "Mate."

But then, it was-- it was a
challenge but it was fantastic.

I probably made about
20 to 25 scores

in about ten days
to two weeks before,

because it was
such a late thing.

I love the fact
you say rehearsals,

um, because
that would mean plural,
which means more than one.

Uh, in this instance,
we had one rehearsal.

You're going to change,
you're going to change.

Let's just try
and we'll get there.

I'm burning quite bad.

I'm not playing. What are
you guys playing at that beat?

Four. They all look like me.

Obviously, I think we knew deep
down we could do a good job,

but because the rehearsal
and everything was done

such by the sort of
seat of our pants,

there were times
where it could have gone wrong.

Come on, mate.
It's awesome, this is awesome.

I'm terrified as well.

Hello.

We are Bastille and friends,
and it's such a pleasure

to be here
for Streets of London,

so thank you so much
for everybody for coming.

I'm terrified so I'm not
going to talk very much.

Love you, Kyle!

It was rough as fuck and
probably filled with mistakes,

but we pulled it off,

and it just felt really special.

There was something very
intimate and very sensitive

about the approach
to Bastille's music

in comparison to the guns
blazing that people are used to.

To very specifically
remix every song

in a live context is a bravery

that I can say a lot of artists
wouldn't do in any way,
shape or form.

To start with "Pompeii,"
to completely strip it away,

and make it just a cappella
with some singers.

And to take away the chanting
and the hook that people know,

everything was about it
was undermining expectations.

Coming out with our second album
and playing arenas,

we're set about to make
a third album
that was all about escapism,

but I'd been thinking about
that gig we did, that charity,

and how amazing it had been,
and I just came up

with this idea of
trying to do it again,

and it just got in my head.

It felt kind of like-- like
a great idea not fully realized.

Looking back, I-- if that was
the only thing we'd ever done,

I'd thought, "Oh, that doesn't
represent who I am

and it certainly
doesn't represent
what these players can do."

I would have been happy
with it happening that once.

I wanted to do something...

...that felt different
and felt real,

and pretty much everyone

across the board was like,
"Why the fuck would you do that?

You have a third
album to be making,

that's kind of more important."

And that album has
to be delivered,

I don't know, like
eight weeks after Christmas.

I'm just quite up for working
as quickly as possible.

Just trying to get as much stuff
to an exciting playable point.

Get together
an entire gig's worth,

like tour's worth of touring
on the orchestral thing.

That's going to be a fuck load
to-- to learn right--

like, right at the top
of the year before we go
into the campaign,

because we have to learn
the orchestral stuff
for all these people.

-We have to work closely
with Jonny on that.
-And also learn

how we're going to be playing
all of this stuff as well.

We'll just plan it out,
and then I think, you know,
the point of doing the tour

leading up to Albert Hall,
obviously we want it to be good,

but it's that it gets, the show
gets tighter and tighter.

-I just--
- We know the songs.

I know what he's saying,

I want us to be,
like, fucking nailed

and good to go by the time
we start touring proper.

Touring is expensive,
and injecting an extra like

15 musicians into that scenario
means more buses,

more hotel rooms,
like, more crew.

There was never any idea
that anything would
come of it commercially.

Like, I don't know,
them sort of saying,

"This isn't going to make
you any money." It's like,

"Well, okay, well,
then I'll stop being in a band

and become a fucking
stockbroker," like, what's the--

I mean, he couldn't
be a stockbroker,
he shouldn't do that.

I sort of do think you're doing
it at the wrong stage

of your career.
You're really hot,

and when we're still climbing,

which I think Dan
sometimes has a problem

of actually enjoying it

and therefore wants
to do other things.

So, like the orchestra,

because it'd be just
too easy to have loads of hits

and hits and hits and make
my life easier and everyone
else's, wouldn't it?

As a concept I love it.

It was so much fucking work...
for everyone.

I feel like anything worth doing
in the creative world

has always got to have
a bit of, you know,
stress involved,

um, a bit of jeopardy,
blood, sweat and tears,

all the usual cliches.

If you drastically change
what you've done,

you can definitely
get it a lot more wrong,

but the rewards
can be a lot bigger,

and I think that's probably
what-- what drives Dan.

This project is--
is one that no one asked for,

but then again, no one fucking
asked for our band to exist,
so fuck you.

Any idea that, like,
music with strings or
orchestration or classical stuff

couldn't be modern
and couldn't be relevant,

I just thought was bullshit.
I think we now--
like, one of the nice things

about the age we live in
at the moment is the fact that

like, genre feels,
like, irrelevant.

Welcome, everybody.
Thanks for coming in on Sunday

and joining us
on this adventure,

but we need to be on it today.
We don't have a lot of time.

We've got to try and have Dan
do as little talking as he can

because
he's got to save himself.

If he wants, he'll talk a lot,

because he's so
passionate about this,

but-- but thank you
very much. Crack on.

-Okay.

You fucking tell them, mate.

Bringing people into our--
our world

and making it more
about them than us

and letting the songs
be the songs,

and I step away and be the least
impressive things on stage,

that was what it was about.

Somewhere at home, like,
I've got these pad of notes
for each song,

like, "Play this trigger here.

This sample there,
stop playing here..."

Just trying to unlearn
muscle memory

really quickly from songs
that we'd spent the last

three or four years touring
almost nonstop.

Eventually it goes...

I don't want the drum part
to sound too perky.

Like, so I want it to drive...

Yeah, a lot of notes being made,

scribbled down and things
being changed on the fly.

-All right, so in the chorus?
-Yeah.

You still do the tom thing,

I'm gonna stick
with the beat underneath it.

Okay, sure thing.

Yeah.

There is one where I have
to play, um, I play piano.

It's very much my third
instrument, and yeah, I remember
that was kind of exciting.

I was like,
"Which buttons do I push now?"

I get to rehearsals early
and I leave rehearsals late,

just 'cause I need the extra
time more than the boys.

And that kind of
lives inside you

around these people who are
just-- who are just like,

"Oh, what's that song?
Bosh, I've got it."

I'm just like, "What the fuck?"

Okay. And it might
take me longer.

-Are they doing the off-beat,
"Yeah, yeah, yeah"?
-Yeah.

-Then we're gonna
do it with the rest.
-Okay, cool, sweet. Um, yeah--

That was different
to what's on the album.

We weren't available
for loads of time to do it.

We had to fit these
rehearsals in.

In the recording there's a...

In amongst them,
and like, just like,

"Okay, just have
a couple days rehearsal
before you go off on tour."

Is anybody doing
a part that resembles...

And it just wasn't enough time
for me just to feel--
to feel comfortable.

The set's really different now.
And also there hasn't really
been a lot going from in it,

-so you might be right.
-I've got a lot of parts, so
that's the last change we make.

-Yeah?
- In that song?

Yeah.

-Changed the whole
fucking thing.
-I did not change everything.

Well, I'm a bit of a nerd
and I love rehearsing,

it's one of my favorite bits
about being in a band.

The ReOrchestrated project
is by far my favorite thing

I've ever done musically at all,
not even just with Bastille,

just full stop,
it's my favorite thing.

As a young teenager,

I got like-- I was quite big.

Growing up, you know,
like, kids are mean,

life is-- life is pretty mean,
and that was like
part of my identity.

I've always been really
physically self-conscious,

so it is fucking weird
to have pursued this thing.

But I think that's part
of the tension of this.

I fucking love being able
to make music and create stuff.

I played the violin
and the piano when I was a kid,

and, you know, I used to sing in
a choir, but I gave it all up...

...to get into university
in order to give the illusion

that I had a more rounded life.

I tried to rejoin
the orchestra at my school

but I hadn't played the violin
in a long time and I was very
bad and didn't practice,

so I was basically

the only 17-year-old
in the orchestra

in the thirds violin section,
which is like the easiest
section.

It was all, like, ten-year-olds.

Then there was this one concert
where the dress rehearsal
was in the day.

I remember getting up
to chat to someone,

and I put the violin down
on the chair next to me,

and little did I know...
that the kid next to me,
whose chair it was,

had comeback and moved
the violin back on to my chair.

So I finished the conversation,
went to sit down

and just heard this
almighty crunch, ping.

It's the sound that doesn't
leave you in a hurry,

of physically crushing
your own violin with your ass.

There were no spare
violins in the school,

apart from one
quarter sized child's violin.

So as the big kid already,
having to then play,

like, a little mini violin
that I already couldn't play...

Um, yeah, that pretty much sums
up, like, my teenage years.

Maybe this whole ReOrchestrated
thing is-- is-- my, uh--
my personal revenge.

Maybe there is something,
like, really audacious

and cheeky about
thinking that us

as some, like,
band could wander into a room

as amazing and beautiful
as Royal Albert Hall

and get on that stage that has
so much heritage and history.

It was really, really weird

kind of just doing
the soundcheck,

having to look around
and just thinking,
"What am I doing here?"

It's kind of, it's weird,
sometimes venues are more
impressive when they're empty,

and I just remember
that being the point,

I was just looking up
sort of starry-eyed

at this beautiful venue.

-Do you want to give a speech?
-No speeches.

-Fuck yeah, lads.
-Cheers!

Well done, well fucking done!

So happy.

It's like my face is just
permanently in this position.

It was just gorgeous. It kind
of wraps all the way around.

-"We love you, Dan!"
-"We love you, Dan!"

You know that was--
the Royal Albert Hall was one
of the most memorable nights

we've had with the band,
so, yeah, it's...

I'm glad they went through
the pain to get it all done.

Was just really affected
by how amazing it was

to stand on stage with some
incredible gospel singers
and those musicians.

And so, the process of
ReOrchestrated ended up
bleeding into Doom Days .

Well, the thing that was
interesting with that is

it's kind of an experiment
in relinquishing control,

which I think was harder
for certain members
of the band than others.

Maybe it's just something in me,
but everything always feels like

a bit of an uphill struggle
with us.

As important as that stuff
is to me and I love it
and I want it to be great,

like, it is what it is,
and you shouldn't...

...fucking destroy yourself
in the process of making it,

like, you know, Mark,
our producer always says, like,

with a song, no matter who you
did it with or how you did it,
you want to be able to,

if you're going to sing it
every night, look back on it
and have a nice association.

And so, yeah,
I've started, like,
now collaborating way more.

It just takes the pressure off,
it's a shared responsibility.

And that was
way more fun for us,

and, I think, a way better
process with better results.

That was actually a really
nice time because it was

a bit of a break from touring,

and it was the first time
we'd sort of sat down

and we'd written all the songs
at the same time.

And Senab and loads
of the singers ended up

singing across the tracks.

It's very delicious
to work with an artist

who is willing to give you
room to be creative

and to be trusting.

It was all just a kind of,
like a bit of a mixing pot

of all the people that we'd
kind of been hanging out with
for the last year or so.

We have all these
different arms to what we do,
but as time goes on,

they all kind of bleed into each
other and they spill in and out
of their lanes,

and that's nice
to have those intermesh.

I'm just so...
indescribably proud of

and in awe of Jonny
and what he pulled off.

Here's my chart,
there are 25 songs here.

What I've done is
I've just broken it down into
the different instruments.

And, um, it's just the case
of trying to cover

all of the instruments
in all of the tunes.

It's nuts when you
sort of look to someone
that you know really well

and have lived
on a tour bus with

and you know on a real,
like, interpersonal level,

and then to have
these moments of like
realization that you're like,

"Fuck me, you're a genius,
you're, like,
actually a genius."

So yeah, you're just getting
the full range of midi
treatment. Here's the brass.

Wonderful. Just got to...

...trust that it's going to be
okay once-- once people are

playing it on real instruments.

The opportunity came about
through Channel Aid,

they said, "Do you want to play
with a full full orchestra?"

We're like, "Okay,
this would be a mad step up."
And like, why not?

Hamburg... I mean,
yeah, they kept just--

they kept just getting a bit
bigger and bigger every time.

- Where are we, Jonny?
-We're in the Elbphilharmonie
in Hamburg.

-How's it going?
-It's going great.

-What's the gig about?
-This gig is about
ReOrchestrated,

but just bigger and more
adventurous than last time.

This is a 53 piece orchestra,
a 12 piece gospel choir,

the five of us in the band
and, you know, any extra help,

and there's 70 plus
people on stage.

-Yeah.
-Yeah, so that's--

That, and it turns out
that that is enough.

Yeah, yeah.

We are performing
Bastille ReOrchestrated today

with Bastille and my orchestra,
Baltic Sea Philharmonic,

and I'm very happy
to start the '20s with a bang.

There's rather a lot of people
at band practice today.

This is the biggest
ReOrchestrated show in the round
in a different country,

streamed live.

Uh.

And we went and did
a rehearsal with them.

And that was the day before,
and that was it.

It was loosey-goosey at
the start, there's bits where

I had to go and say,
"This thing is not clicking."

It's just a different world,
so, for instance,

you know, we all play
with a metronome, with a click
in our in-ear monitors,

and classical musicians
play by sight.

We'd be playing along
just not even looking at them,

and they're like, "Do you want
to make some eye contact?"

Because that's just
the world they move in.

We can say to someone,
"Drop eight bars after that
chorus, blah, blah."

They would know,
whereas the classically
trained lot would be like,

"Oh, is that after J, like,
bar 54?" They need to know
the specifics of it.

We're fortunate that Jonny
and Senab, in particular,
they speak both,

so they can kind of, like,
almost translate for the others

if we're trying
to articulate something
but can't quite get it across.

If I sing it I'm sorry.

You know, this was about
really celebrating and enjoying

some fucking amazing musicians
who-- who just deserve that.

And we happened to be--
we happened to be the vessel,

our songs happened
to be the vessel.

When you meet people
who've been, like,

arranging and sight reading
since they were six years old,

and it's just second
nature to them, it's...

...like, totally honest,
it's hugely intimidating,

and you're left feeling a little
bit vulnerable at times.

-I feel inadequate.
-Yeah.

And old.

I've definitely had
some tougher times

where I have struggled
a bit with it.

Every single thing you do
is caught by at least one
camera phone,

if there's not already
a professional film crew there,

that just made me feel so scared

about, like, how easily
I might get found out.

And I started getting so,
like, vicious with myself

if I didn't feel like I was
being absolutely perfect.

I don't want to play
in front of these people,
if I'm honest with you,

it's embarrassing and I...

...shouldn't be here
with them.

It's kind of stressful having
to sing after every single time

one of these guys takes a part,
and then I have to sing.

Sounds like someone
just crashed the car.

I don't know if this is
just me being obsessive,

but every time there's
a ReOrchestrated show,
I change stuff.

How can we rearrange
these songs in a way
that is totally unexpected?

How can we have little moments

that are, like,
really hair-raising,
goosebump inducing.

Even from our most
loyal, hardcore fans,

what can we do to surprise them?

-Yeah, yeah.
-How are you feeling?

Some of it's weird.

Walk out wearing that,
are you gonna--

We'll try not to screw it up!

Have a good time.

-Thank you, mate.
-Enjoy it, mate!

And watch it live
on channel-aid.org,

come join us.

Hello, we are
at the Elbphilharmonie.

-Feeling ready?

Hey.

The strap works.

I remember, particularly
with the choir and Senab,
who-- who leads that choir,

the contributions that they made

that just completely
blew my mind and I had
nothing to do with.

Those moments where
some of the moments
that made me feel most proud.

The important thing was
getting everybody on stage

at least one moment
that was theirs.

Dan, he's a person first.

Everybody on the stage matters.

Bastille is really
a redefinition

of pop and rock and everything,
I can't really define it into
a category,

and that's what I love
about them, uh,

because the less
definition something has,

then the more attracted
you are intuitively to it.

It is-- its is so,
uh, full of love

and full of--
full of generosity and beauty.

We're just very lucky to be
in the same boat with Bastille.

Actually, there was like
six songs left and I was like,
"That's been ten minutes."

Fun, felt really brief.

- Yeah,
it was good. Jesus...
-But good.

...that was amazing,
that was so much fun.

The best thing
in the world is when something
that I think is amazing

or something that we've done
that I'm really proud of,

that other people agree,
and this is the thing that,
like, it would be so hard

to come to that show and not be
won over by the spirit
of the whole thing.

Thank you so much.

Like, I accidentally
just played piano

on stage at the Elbphilharmonie
with all these--

with all these
classic trained musicians.

I'm not saying
that I'm now up to their level,
but, I don't know, like,

I can put up a fight,
basically, you know.

I'm not going to win,
but at least I'm not getting
knocked down on first round.

During those shows
when it's going well,

obviously I'm shitting myself,
I'm going to fuck it up,

but in those moments
where I'm not having
a panic attack...

...it's so amazing to be
in the middle of those rooms.

I am so grateful
for everyone that's there,

and I get obviously such a
thrill out of moments of the gig

and hearing people sing along
and seeing...

...seeing-- seeing the crowd,
and getting to be on the stage
with my friends, you know,

is something that
is indescribable.

There's a point in the show
where Bim, uh, sings,

in a song called "Fake it,"
the introduction,

and it literally,
every time she opens her mouth
and sings that note,

it's like someone's
ripped my heart open.

I've never been more
creatively fulfilled or, like...

...or moved by something
that I've been involved with.

The Dan that I started
working with when we did
the Union Chapel

is the Dan of the current...

...reorchestration of,
uh, Palladium,

uh, Hamburg, different people.

It's like he does yoga
every day or something.

I'm there, I'm present.
I can hear everything.

I can hear myself.

You're part of something
organic and big,
and it's amazing.

It makes me really happy,
it's something I want
to share with people.

I think if we'd started
on that night

in Union Chapel and said,

"Oh, well, in X amount of time
we need to headline
the Albert Hall

and we need to play a show
at the Palladium with X amount,

or, like, Hamburg
with 50 piece orchestra."

It would've seemed
way out of our reach,

but it was just the case
of coming back to it and just...

...I don't know, just-- just
not giving up on it, really,

that made it as, um,
as fun as it was.

We were going to do the
Palladium, and it was kind of,

"Well, you know,
someone needs to conduct."

And then it was just like,

"Yeah, Jonny, just do it,
you can do it, mate."

And he did it. It was amazing
to watch him do that.

I-- I, you know, should've been
really nervous, but I just felt
really comfortable

when we were in that amazing old
theater and it was sold out,

and the stage was, you know,
creaking because there were
so many people on it.

It-- that just felt like
our-- our normal,

and that's-- that's, you know,
that's what we're used to.

So, yeah, you certainly couldn't
expect what then happened,

you know,
in the following weeks.

Yeah, that turned out to be,
like, our last gig for--
for quite-- quite a while.

I think if we'd known that was
our last night out for a while
we probably would've...

...I don't know,
made a few different plans.

I'd like, didn't really say,
"Bye" to anyone,
because I was like,

"I'll see you all
in a few weeks anyway."

And then all of a sudden,
the world stopped.

There are some gigs that
are just, like, I don't know,

a little slip
on a key or whatever like that,

and it's just like,
"Oh, God, if I died--

if I died tonight,
I'll be so pissed off that
that was the last show I did."

If that happens to be
the last show forever,

I can sleep comfortably
with that for sure.

Just seeing everyone just--
just do everything really well.

Crew and the whole team
had just banded together

to, like,
to sort of do this, and where it
was and who it was for,

every box was ticked
in terms of a sort of...

...just it sort of working
just kind of perfectly.

I think that's why
it's kind of sad that music,
live music particularly

is obviously
so heavily affected,

and it's going to be such a long
time until we can do it again.

Because I think it's about sort
of being together in one space

and it's about closeness.

In spite of the fact
that creatively
there's a lot of stifling,

and we can't go and do gigs
and we can't do rehearsals,

music, it will always
remain a light.

I think that it's sort of
causing this excitement
and this bubble,

so when things eventually
get back to normal,

I just think
it's just going to be

an explosion
of just... fearlessness,

and obviously Bastille
did that prior to lockdown,

so only God knows what they're
going to do now.

Yes! Nice one, everybody.

To go from that
to there being no gigs at all

and everyone being
completely divided and--

and-- and, you know,
forcibly isolated has been mad.

You know, it's forced me to slow
down a bit and think about...

...I don't know,
just having space in your head

and having space in your day.

Also, like, I think, like,
a lot of people who make stuff

or want to be creative,
you know,

you're always thinking
about the next thing

and wanting to surprise people

and be interesting

and keep yourself interested.

There's such a weird,
self-centered whirlpool
of an ecosystem

about-- sometimes being on a
band or being on tour, you know.

You can get lost in it, and...

...and things can seem way
disproportionately important.

So recreating success
can feel, like, important,
but that's ridiculous.

Though I suppose there's
a point to be proven,

and there is no
point to be proven.

We're lucky to do this.