Luke Pritchard (00:00:00):
We put flour all over his symbols. So the first, the first note he hit, it just went everywhere, all over him. And honestly, and that’s the thing we tried. We tried, but he never really forgave us.
Paul Boross (00:00:18):
Welcome to the Humourology podcast with me, Paul Boross, my glittering lineup of guests from the world’s of business, sport, music, and entertainment, who are here to share their wisdom and their use of humour with you. Humourology is the study of how humour can dramatically improve every aspect of your business and your life. Humourology puts the fun into business fundamentals, increases the value of your laughing stock, and puts a punchline back into your bottom line. Please remember to like, subscribe, and leave a review wherever you get your podcasts.
My guest on this edition of the Humourology Podcast is an award-winning songwriter, musician and founding member of the Pop Rock band. The Kooks where he performs lead vocals and plays guitar, their debut album Inside In/ Inside Out, has gone platinum five times over with hits such as Naive, Oh la, and She Moves in Her Own Way. The Kooks have produced five more studio albums, gaining much critical and commercial success. Their newest album, 10 Tracks to Echo In the Dark, was released this past summer when he isn’t making music with The Kooks, you can find him performing with his wife, Ellie Rose. The pair began releasing cosy and punchy pop music during the pandemic, under the name Duo. Taking a brief break from his European tour with the kooks, we caught up with Luke in his hotel room in Barcelona. Luke Pritchard, welcome to the Humourology Podcast.
Luke Pritchard (00:01:58):
Oh, hello Paul. Thank you so much for having me. It’s great to be here.
Paul Boross (00:02:02):
Well, it’s an absolute pleasure. We’ve had a couple of rockers, Mark Bedford from Madness and other people from the music business, but we’ve never had a lead singer before. So it’s lovely.
Luke Pritchard (00:02:19):
Yeah, I’m on. I’m honoured. I’m honoured. Yeah, well, I mean, me, it’s great. It’s, it is interesting because, you know, humour does play such a role in music, so I’m quite excited to open it all up and certainly for me I’ve always loved artists that put a bit of humour in the music, so yeah. Great to chat about it.
Paul Boross (00:02:41):
Well, Madness. Well, one of those artists, weren’t they, who did amazing stuff with their videos and Mark Bedford told us a lot about that. Now you grew up in West Sussex and the Jesuits say, give me a child of seven and I will give you the man. What was the young Luke Pritchard like?
Luke Pritchard (00:03:04):
Well, you know what, I was like the smallest kid for my childhood. I was always so I was a little bit scrappy a little bit shy and certainly wasn’t, the game of all the jokes, you know, that wasn’t me., I think that’s why I kind of got into music in a way. You know, it’s like a, it’s a, a good place to be when you’re that kind of kid and, you know, I wasn’t into sport – I was rubbish at that. So, yeah, I was the kind of kid at the back, you know, with my guitar in the shade basically. But I was a good kid. I was a good kid, I was alright. I think.
Paul Boross (00:03:54):
That’s interesting cuz many musicians and comedians are intrinsically shy. I mean, I work with comedians all over the world. I’ve worked with tonnes of musicians and intrinsically shy, and there’s a saying that performance is the shy person’s revenge on the world. Do you think that’s true?
Luke Pritchard (00:04:12):
<laugh>? I like that. Yeah. I do think that’s kind of true. I think it’s a kind of strangeness about life, the, the kind of absurdity of being a human, isn’t it? That you actually find your most comfortable in front of loads of people on a stage. And whereas like, you know, in like a group of people talking, you’re not, it’s a bizarre thing. I think. Yeah, you do find some kind of solace almost in that. And I mean, I think there’s a, there’s a funny relationship there and it seems to be a bit of a pattern, doesn’t it? I think it helps you, you know, I’d say like it for me for sure, like I found that like helped me find my feet by performing and then and then being able to maybe, you know, get a bit better at those things in the other aspects of my life. So it’s kind of medicine really.
Paul Boross (00:05:12):
Oh, I’m interested in the idea of it being medicine and humorous as medicine, music as medicine – those things. Does it just give you a place in the world. And when you were young, did you feel that you needed to find something to, to actually, well, I don’t know if the show-off
gene was there, because I think, but you know what I mean, that, you know, yeah, I think I have it as well. But it’s there, but you need to find a way into it. Was that like it for you?
Luke Pritchard (00:05:47):
Yeah, yeah, it, yeah, for sure. I think I always was a bit performative, but in a way it’s like, I was just comfortable to be silly. And I think that’s part of being a front man as well, is like, you know, the front men that I look up to I’m more looking at, you know the kind of Jaggers and this way it is like, it, it’s, it’s silly, you know? And, I was always comfortable to do that and put myself in that position. I dunno why, but, that was just, just me. I think a lot of people, especially like when I was at music college and stuff, people wanted to take it quite seriously. And I think that’s all that served me quite well in The Kooks because I’m quite happy to be a bit silly and to be quite lighthearted with it, really, you know?
And I loved, you know, like Ray Davies and the Kinks and the silliness, you know, and McCartney and that kind, that was always what I looked up to really was like being quite deep emotionally, but also being able to be silly as well with that whole expression. I’ve just found it appealing. I think it was quite, gave me a bit of, bit of freedom, really. And like I said, I think I made a bit of a decision early on when I was a teenager that I was just I’m just like, I’m not going to care what people think when I’m on that stage. Maybe I do too much of it, but then you find people love that. Do you know what I mean? And all of a sudden you’re like, you think you’re being silly, and everyone’s like, wow, you’re like quite cool <laugh>.
Paul Boross (00:07:30):
Well, I love this link between silly and cool because I mean, why are we so drawn to people who make us laugh, you know, to people who can be silly mm-hmm. <affirmative>. And is that, are you acting it out for other people and they think that, but we are intrinsically, you talked about Jagger being silly, and I think you are right. I think there’s a lack of care and there’s a, you are sort of… the ability to laugh at yourself as well. Do you think that’s true?
Luke Pritchard (00:08:04):
Well, it’s also quite, it’s also quite sexy <laugh>. Yes. You know, it is in a weird way, I think, I think it is just, it’s about inhibitions when you think about it as a performer. I think there’s just, there’s in music – if we take music, I’m sure it’s exactly the same in the business world and stuff, but I’ve got much experience in that. But with music, there are, you could almost put people into two categories. I think I remember in Chronicles, Bob Dylan, he talked about this. You have like the performers that are almost behind the curtain, and then the performers that are in front of it, and you don’t really necessarily get to choose. But as a performer, I’ve always been like, you know, people are coming, they’re paying their money to have a good night, to like, forget their worries, forget themselves. They want a bit of silliness and a bit of, lightheartedness with it, as well as having subtext and meaning behind your words and, and stuff like that. And I think like I say, it put for me, I naturally was drawn to that side of things. That’s what I liked doing myself when I went to gigs.
Paul Boross (00:09:11):
Well, that’s really interesting cuz from a psychological perspective there’s a saying that if you want anyone to go into any state, you have to go into that state first. So what you are saying is that you are calling it silliness, I call it sort of somewhere between silliness and charisma. But that ability to go into that state, everybody’s going, oh, I love that he can go there. And it makes it easier for me to go there. And you just mentioned, you know, people like Jagger, now you are talking as a performer, and we kind of understand that thing, and you are saying it’s silly, but most people are looking at Jagger and going, it’s sexy. It’s, you know, confident, it’s charismatic. But I think you are right, and I think you’ve really hit on something that this silliness and the able to send yourself up, uh, is yeah,
Luke Pritchard (00:10:13):
Is it’s the c is the circus, it’s the circus, you know, and it’s like, you see, he’s, um, he, he, he, you know, he is wiggling his butt and he, he’s like, he’s going into, you know, you see the footage of him going into the fancy dress you know, boxes they’ve got behind. And he’s like, you know, it’s fun. It’s fun and it makes you, yes. It has all those other things, the cool and sexiness, but fundamentally, you, I guess it is, it makes everyone at the show just like lose themselves and like get a bit loose. And a lot of people struggle to get loose in life, you know, and it’s just about wiggling out of the rigid society that we sometimes live in. I think that’s the job.
Paul Boross (00:10:57):
Yeah. I love your idea that it’s, it’s like the circus. It allows ourself to free ourselves, but you can’t be truly free until the person on stage has embodied it for you, essentially.
Luke Pritchard (00:11:13):
Yeah, yeah. I think so. I think so
Paul Boross (00:11:16):
You went to the Brit School at one stage, which is for people that don’t know, who listen all over the world is, you know, you know, people like Adele went there, Rizzle Kicks, Jesse J all that. Was that part of what you learnt there? Or was this sense of fun, this sense of circus, this sense of silliness, something that you discovered along the way?
Luke Pritchard (00:11:46):
I guess I did learn it there really. I think it was interesting being surrounded by so many other, like, talented musicians. And I guess I was like, I’m gonna have to find a way to compete with these guys, you know, <laugh>. So I guess in some ways then it was, it, it became like choosing that path. But yeah, I think, um, I learned, I learned a lot from, from just being around different styles of music there, particularly cuz I’d really just my background, you know, what, what I grew up on would’ve been just, you know, Everly Brothers and Dylan and you know, all this kind of, uh, and like rock and roll obviously, and R and B and stuff. And then going to Brit School opened me up to like, all kinds of different music. So that was, I’d say the main thing that I learned there was like, you know, I used to play, I’d play guitar for, you know, Leona Lewis or whatever, and her band and doing like r and b soul and stuff.
And there, there was, you know lots of that. And, and yeah, I saw people who were much more… they’d done a lot more performing than me. I mean, I used to be in a band called Basement Band cuz we used to rehearse in a basement. and you know, our one gig we managed to get was at the Bandstand In Clapham Common cuz no one would let us play. So <laugh>. But I got, we were so, we were so bad. But it was, but, but like when I got to The Brit, it was like I had that, I was, I was able to get on the stage and see what I could do. But at that point, I wasn’t a front man. I really, my thing was like, I wanted to write songs for people. So that came maybe a bit later in when I moved to Brighton. But yeah, you know, it, it’s, it’s, it, was, I think to answer your question directly it’s like, it’s like you had to stand out there cause there were so many good people. So it’s like, then again, that, it’s like peacocking, isn’t it? You have to like, just jump out a bit and like, do something, be a bit more of the silliness. Maybe that helps you get noticed even
Paul Boross (00:13:59):
Well, well, you obviously did get noticed because, I think you were just 17 years old when The Kooks had their first hit. I mean, <laugh> did that test your sanity? Did it test your humour? Because it’s a big thing, uh, especially when you are young to get all that adulation, isn’t it?
Luke Pritchard (00:14:21):
Without getting too deep into it? Yeah, I think I did lose my humour for a bit. In fact, one of my managers we had the same, we’ve had the same managers for nearly 20 years now. And one of the managers said that to me. He, I think on, on the third album, he was like, it’s great to see you finally got your humour back <laugh>. Cause like I did go, I think it was, it, it was pretty challenging. It was quite a different climate then as well. I definitely I found fame quite difficult because it did it, you don’t realise how priceless anonymity is until you don’t have it and stuff just like, it was just like in Brighton quite a small city, everyone would come up to you.
I had to get security, which is not fun. I mean, it sounds like all cool and everything, but like, it’s not cool, you know, cuz I had a lot of people just come up and all this kind of bollocks. So, I did, it was quite hard being that young but I wouldn’t change it, you know, I think at the end of the day we all dealt with it and kind of got through it and there were some unbelievably cool times as well but I certainly, I think I got a bit serious <laugh> for a bit, you know, I think it was just, the thing, the funny thing about it is that you, you start out do the first Kooks album, and I’m writing lots of like, fun songs and having fun with it all and finding it all quite funny. And then, yeah, the second album I was like, I need to make, you know, I want to make like serious album and like, it’s gotta be really bluesy and like rock, you know and that’s cool and it’s a great record. But then I had to work my way back to going, oh, that’s not really me. You know, so it’s, it’s a funny journey you take on these things.
Paul Boross (00:16:17):
What happens when you have some success as you know, I’ve had a tiny touch of being a pop star for a very brief period of time, but
Luke Pritchard (00:16:27):
Oh, I love your stuff
Oh, bless you, mate. But what happens is, which people don’t understand, is that you don’t necessarily change, but everybody else changes around you and starts to react very differently to you. Yeah. And that at 17 years old must be, you know, for want of a better word a ‘head fuck’.
Yeah. Yeah, totally. And I mean in the context of humour as well, which I, it people are very touchy these days about it. And I think that’s dangerous because when, like you say, when you’re in that, when you have like the yes men, or you are, or you are making people money, essentially, people don’t want to, they don’t want to knock you down. They don’t want to give you a jab. And then when you don’t have that for quite a long time, that has an impact. And you are so used to it. Like, your mates should be like roasting you. That’s how they should be. You know, you wanna, you gotta, it’s like, like life’s about always trying to knock the ego out, right? It should be to try, you know, it’s one of the sort of spiritual laws, you know, we need to always try and knock that. But when you are in a situation that happens to exactly, I’m sure you have a very similar experience where on it is not just fame, it’s loads of versions of that, you know, becoming successful in any way. All of a sudden people aren’t giving you those humorous knocks that should be there.
Paul Boross (00:17:50):
And it’s difficult to get people around you who will do that. Do you think that’s why… I mean in terms of, it’s quite hard to know who to trust, and so you tend to get people from the same business because, you know, I mean, musicians are renowned for being like comedians and essentially, again, for want of a word, a better term, taking the piss, you know? Yeah, yeah. And when there’s very… so you tend to mix with people who don’t put you on a pedestal and so therefore can, can deal with you in a humorous way.
Luke Pritchard (00:18:33):
Yeah. Yeah. I think a hundred percent. And if you don’t then, you know, then you can get in some issues. But I think you’re right. I mean that’s the camaraderie of like, when, when you hang out with other, other groups and stuff, that’s that because you are all in the same boat and then you can do that. So yeah, I think, yeah, it is probably true. People,
Paul Boross (00:18:54):
I’ve never told this story before, but I think it, uh, exemplifies what, and you will understand this. When you are in a band and you, you are taken all over and you are driven to television studios, and then you sit in a green room for nine hours while they fix the lights and everything, and that’s when the camaraderie of the band gets… or backstage at a festival or something – and I remember being in a green room of we were doing a TV show with Morris Minor and The Majors and for our first hit, I think for Stutter Rap, and we’d got to know Wet Wet Wet very well who people will know and The Stranglers. And we are all in green rooms, we are in there with the very talented and brilliant Terrence Trent Darby, I dunno if you remember who by the way.
Luke Pritchard (00:19:47):
I do. Amazing voice.
Paul Boross (00:19:48):
Amazing voice, amazing writer, beautiful looking, unbelievable, but was taking himself at that time a little bit too seriously,
Luke Pritchard (00:19:59):
What happened is because he was in that mode of like, you know, I’m a serious artist, all of Wet, Wet Wet, us, The Stranglers, everybody were essentially taking the piss out of him because he couldn’t take the piss out of himself, <laugh>. And so we, you know, and we’d, we’d start to realise that, you know, he was going, my name’s Terrence, and, and we’d all call him Terry or Tel.
Paul Boross (00:20:28):
And he just used to get more and more wound up about
Luke Pritchard (00:20:32):
This guy, which is more, more funny, <laugh>. It just keeps going.
Paul Boross (00:20:36):
Well, you know what musos are like, they’re going, they’re going to just pile in at that point,
Luke Pritchard (00:20:42):
Paul Boross (00:20:43):
And so what do you feel of them? I mean, if you can’t take the piss out of yourself, what happens? Do you think you lose it, essentially.
Luke Pritchard (00:20:54):
I think a lot of people that does happen and they never get out of it, to be honest. But I think you end up quite miserable, to be fair.
Paul Boross (00:21:02):
By the way. I think it’s partly because you’re so bored, because everybody thinks, thinks that, you are in Barcelona -a hotel room in Barcelona now. And, uh,
Luke Pritchard (00:21:13):
I’m very bored. I’m sure I’m <laugh>.
Paul Boross (00:21:15):
Well, obviously you’re chatting to me, Luke, you’re gonna be very bored
Luke Pritchard (00:21:20):
Paul Boross (00:21:21):
But you are in a, and everybody will go, oh, it must be amazing because, but most of the time, the reason you need a sense of humour is because probably 22 hours out of the day, it’s incredibly boring and somebody drives you to the hotel. You sit in the room waiting for the limo, uh, to paraphrase Spinal Tap, you know? And, um, that’s, I mean,
Luke Pritchard (00:21:49):
Paul Boross (00:21:49):
How do you deal with it?
Luke Pritchard (00:21:50):
I mean, the classic thing Well, that’s the classic thing.I think I, there’s a good, I I’ll, I can’t remember exactly, there’s a good Charlie Watts phrase isn’t old quote where he says, like, it’s like basically you’re paid for hanging around. I mean, it’s like you, it, it, it’s kind of crazy cuz you, you know, especially festivals, you know, you’re just, you’re doing like 50 minutes set and you’ve taken like three planes and, you know, driven for five hours and, you know, so you have to come up with stuff to do. We’ve got, we got like Hugh in our band who is like, you know he’s, uh, we are like, uh, have a brotherly kind of relationship. And, but he, you know, we’ve been, he’s been the band since the beginning and with me. And he, you know, he, he’s good at that. He’s a very funny guy. He does bizarre stuff. I mean, really weird. It gets, it gets weird, like just performative. But he, I mean, he could have his own sitcom to be honest. Uh, so you kind of need like one person like that, the kind of, um, who kind of keeps some kind of, I don’t know, yeah silliness again going and it does help. It does help.
Paul Boross (00:23:07):
It’s Hugh like the band jester. Is it like the King’s court?
Luke Pritchard (00:23:11):
<laugh>? I almost would say, yeah. I mean, yeah, he does. Yeah, it’s a lot of, um, that kind of thing. I could see him juggling for sure. Um, you know, he’ll just, um, do whole sort of skits for us. So yeah, I guess he’s <laugh>. It’s great. I love it. I love it. It’s brilliant. I wouldn’t have it any other way.
Paul Boross (00:23:35):
It’s interesting because one of the things about being on the road with a band, having done it, is I think one of the most stressful things I’ve ever done in my life. <laugh>. So having releases like that, that you are talking about your relationship with Hugh and you bantering and everything is a sense of humour vital to a band actually functioning and staying on the road?
Luke Pritchard (00:24:03):
That’s a good question. I mean, I think it’s possible not but I think it’s quite sad. I mean, I’ve seen, I wouldn’t mention names, but I mean, I’ve, I’ve, I’ve seen a lot of bands where they don’t talk to each other. They have, sometimes they even have separate hotels and I think by that point you can function, but it’s not the same. And I think that’s the kind of goal I think in, in a way. Like, that’s how you keep maybe it relevant for yourself because you have to, it gets to a point after you’ve toured for so long. Um, you can’t just do it just to make money. You know, you want, you, you still wanna feel like you’ve got a connection with the people you play music with. And I think, yes, I think humour like massively helps with that.
And I think like, like I said before, just like everyone being able to or afford it to, to like make jabs with each other is very important. But, but that’s, that bands, you know, it can get, I mean, it can get pretty weird, but it’s like family, you know, it’s like stuff happens, people do things – things get taken the wrong way and you can have bad blood quite quickly. And with us, we try to try to be as transparent with all that as we can. Cause we’ve had all that, that you just try and keep it or, you know, just kick ’em outta the band <laugh>, which has happened as well. <laugh>.
Paul Boross (00:25:34):
Yeah. Well, but isn’t, isn’t, uh, one of the things of a well-functioning band that you all have to, you, you talked about Jagger and the Rolling Stones, when they were looking for a new guitarist the, they looked for somebody who would fit in and be fun cuz they’d been through a couple that hadn’t.
Luke Pritchard (00:25:59):
Mick Taylor who’s a great guitar player.
Paul Boross (00:26:01):
Well, Mick Taylor’s is a genius guitar player, but he just didn’t, didn’t fit in to the thing. So it, it’s more important that you all get on, isn’t it?
Luke Pritchard (00:26:13):
Yeah, yeah. It’s so important. It’s, um, and in the studio as well, you know, it’s the same in the studio because you are gonna spend time, you’re gonna have creative decisions to make, and you need to have that kind of relationship. Yeah, I mean, it’s the holy grail is what it’s what people are looking for. And, and, and there’s a few bands that have maintained it. I, I think, you know, I, we, I always took the… I always took the kind of hard line on it where I think some people don’t, you know, like when it’s not working you, it’s so, you know, like The Stones, you know, it’s, you can carry on but refresh the lineup. And some people find that hard, especially certain people, fans, you know, find it hard.
But, and a lot of that, a few times, that’s been very mutual by the way. But we, yeah, we, I mean, we’ve probably had more members than the Rolling Stones, I would imagine <laugh>. Yeah. But it keeps it, it keeps it fresh sometimes and, and it does take time to find it is like, you don’t know. You don’t exactly know how it’s gonna play out until you are in those situations as well. You can meet in the pub and it’s like, you get on great and then once, uh, yeah, you’re in a venue with no hot water and <laugh>, it’s like a, it is like that kind of thing. And then some people struggle with that. And so you have, it takes time to work that out.
Paul Boross (00:27:44):
The stress of the road is extraordinary because, and, and I know that everybody, you know, we, we get many listeners all over the world and they’re gonna go Yes, stress. You have to, you know, it’s, uh, it’s like the Dire Straits song, you know, Money for Nothing, you know, you maybe get a blister on your little finger, but actually the stress is the travelling, the expectation, the having to, you know, I mean, no performers really cancel shows apart from if they’ve broken their back or something. Yeah. Because the old show biz, the show must go on. So in order to keep that lightness and laughter, do you think you have to, you are a leader essentially. Do you think you have to lead with laughter? And does that improve everything for the whole crew and the band?
Luke Pritchard (00:28:41):
I actually would argue that like, different people in the band take that role at different times, because you are always gonna have a time where you just don’t want to get up there. You know, if you’re having a, a bad time or you’re knackered or you know, someone’s passed away or you’ve broken up or something like that. And you have to, and, and you, and that is part of the job. And I think people, yes, of course. I mean, I find it amazing. I love touring and, but it’s, but it is like, it’s not you, you are work, some days you’re working for like 25 hours. I mean, like, and in the studio as well. Sometimes you’re like, so it, it, it’s actually sometimes it is even much, much more for lawn than probably most jobs. Um, but you know, it’s a give and take.
It’s still great fun. And it’s, it’s like anything in life, it’s how you, it’s what you make of it. You can, I’ve had periods, and this is what I was saying about when I got a bit serious, all of a sudden you, you get a bit serious and then it’s, it’s all like, really stressful. But if your outlook is gratitude and like, this is really fun and there’s not, you know, there’s not, uh, hopefully a, a really bad situation back at home or anything, then it, it should be amazing. Um, but it, but it’s knackering and like, you know, and like having like, just, just little things like having a cold becomes a really big deal. So you have a cold, you know, if you are like doing a, a normal job, you just take a bit of Lemsip and you get on with it. But if you’ve gotta do a 12 hour flight, and then you’ve gotta go straight to a festival, do five interviews, and then go on stage, that’s a real pain in the ass. When you’ve got a cold, you know, and it, it’s, then you become a bit like a baby, you’ll be, oh my God, <laugh>, like, it’s so hard for me. Life is so hard and all you’ve got is a fucking cold, you know? But it’s like, it scales up to this huge issue for you.
Paul Boross (00:30:43):
Well, yeah. And you can’t phone in sick, can you?
Luke Pritchard (00:30:48):
<laugh> like you say, I mean, the show must go on. This is the mantra.
Paul Boross (00:30:52):
That’s right. Yeah. I’m gonna call up 20,000 people and go, I’ve got a bit of a cold. Did you mind if I don’t, you know, people,
Luke Pritchard (00:31:02):
People -to be fair, people are very unforgiving. I mean I’ve had it either when our son was born where I had to, it was a bit of a touch and go situation, and I’m sure you know the story, but like, I ended up having to watch the birth on FaceTime, but it was a very, like, it was a pretty life and death situation at the time. And I had to cancel the festival. And, and I mean people just don’t get it. They, they, you know, eventually they do, but the fans are like, oh, whatever. Just go the next day. And you’re like, what? Like, it’s something funny about music like that. People think. Yeah, like you say, it’s like, you’ve got an easy life, so why not? And it, and it is true to a degree, but hey, we’re humans. You know what I mean? It’s like, sometimes there are things that trump the show, you know? <laugh>.
Paul Boross (00:31:48):
Yes. I think the birth of a child should trump any show. Well, we, you now have a child, you have the lovely Julian. Has he taught you anything about humour and, and do you think you need a sense of humour to raise a
Luke Pritchard (00:32:05):
Child? Yeah, definitely. Like toilet humour, <laugh>
Paul Boross (00:32:09):
Luke Pritchard (00:32:10):
Yes. Is it, um, yeah, he, he has, I mean, it is a purity, isn’t it? It’s like what’s amazing to me is the stuff that must be passed down genetically to be a human, the stuff thatthey just know how, you know what I mean? And not, it’s not all just copying. I find that really interesting. And, and humour. He’s a very, I, I, I think already he seems like a very humorous person. I think he messes around with us, you know? Um, and that
Paul Boross (00:32:48):
Luke Pritchard (00:32:48):
You. Cool. Well, yeah, <laugh> definitely that I know. That’s, that’s the,
Paul Boross (00:32:54):
That’s what they do, by the way. That’s, so that, that’s the most amazing thing, is that journey where, while you realise, you know the whole, um, crying for no reason, just to get your attention, the,
Luke Pritchard (00:33:05):
Have you ever tried this one? This is quite funny if you, um, <laugh>, some people might not find as funny, by the way, but I, I think it’s fucking hilarious. <laugh>, if you, if you have a kid, right? If you have a baby and you just hit the side, like hit hit, hit a door next to him or her, they’ll think that they’ll start crying, like as if they like knock their head <laugh>, it’s so funny. <laugh>. And you’re like, nothing’s happened. Nothing’s happened.
Paul Boross (00:33:29):
Do you know that babies are only born with two fears, fear of falling and fear of loud noises. So it may also be something, oh, is it to do with
Luke Pritchard (00:33:36):
That? It might.
Paul Boross (00:33:38):
I’m saying, but, but you know, did you do the thing that when you got back and you had first have a baby, you put finger into their hand and they hold your, uh, your finger. Do you know that? And you go into that extraordinary place of, oh my God, it’s pure love and it of thing, and actually it’s just biological that many people are born, um, you know, when they’re, uh, uh, floods and things. So they, babies are uh, are biologically programmed to hold on to anything. So as soon as they’re born, they hold on. But of course,
Luke Pritchard (00:34:14):
Paul Boross (00:34:16):
Oh, I mean, it is completely wild, wild. But we being humans always go, no, it’s because they really love me. You know,
Luke Pritchard (00:34:23):
<laugh>. Yeah, yeah, yeah. So true. Well,
Paul Boross (00:34:29):
I mean, so Julian’s only just over a year old now, isn’t he? So, uh, and I think, but he’s already laughing, isn’t he? And he is already Oh, yeah. Giggling and laughing. Um, yeah. You know, that children laugh between 300 and 400 times a day and adults only laugh on average 17.5 times a day. So what do you think we can learn from children? And I’m, I’m very drawn to the fact that mm-hmm. <affirmative>, that you introduced the thing of silliness on stage. Do you think that’s why people are so drawn to that silliness cuz it’s childlike.
Luke Pritchard (00:35:11):
I think that’s really insightful. I’d never really thought about that, but I think, I think you can learn a lot from the innocence and maybe even deeper to think like what we are actually meant to be, you know, maybe that’s something to think about, like that we aren’t modern humans, maybe we’re not actually our behaviour patterns have been, you know, kind of skewed quite a lot because actually the natural the natural way of a baby who has no outside interference is to laugh that many times, which is incredible. So maybe it’s something there and you, but you find it, it’s you, it’s like euphoria. I mean, me and Ellie were in the studio quite recently and there was just one night where we just- I haven’t had like giggles like that for
Like we, it was like half an hour of, so we had this joke. It probably wouldn’t sound that funny, but it was like, we’d been, we’d been working for like 20 hours, you know? And it’s like the euphoria that that creates, is like really palpable or whatever. You really feel it. And it prob it is, it probably helps with everything. Probably helps with your immune system, probably helps with, you know, your, I don’t know, your skin. I mean, I dunno. I mean, I think, I think that there’s something there, and I know there’s like laughter therapy and things like that. But it’s al it’s also like intention, you know, just on a level as a human, if you, you see people, everyone has their different ways of communication, but the people that, they’re big-hearted and they’re always making you laugh and laughing. Uh, not comedians necessarily actually. Cuz comedians often aren’t like that. They’re actually in person, not like that at all. But tho those kind of people who are very, very la you know, uh, they do seem genuinely happy and good and healthy, you know, <laugh>
Paul Boross (00:37:15):
And Oh, and, but I think you make a brilliant point. You know, that that release of laughter and the endorphins it creates is just one of the most intoxicating things that you can get and it’s extraordinary. Do you get that same, I mean, you go on stage and you are adored, which is a lovely thing. And rightly you should be, but
Luke Pritchard (00:37:46):
<laugh> don’t think everybody agrees with that! <laugh>.
Paul Boross (00:37:50):
Well, no. But, but is that the drug that is hard to replace is that feeling of love that comes back and that euphoria, cuz we talked about the euphoria of laughter, but that same thing which happens in an audience is, is that a hard drug to replace?
Luke Pritchard (00:38:13):
Yeah, it’s heavy. And I, and I missed it when we were forced… I won’t even mention what it was cuz it’s over there. But you know, when, when you had an imposed stop to it? Um, yes. Like, I mean I really, it was like withdrawal definitely and it’s, and it’s a sim it is a similar feeling to yeah. That kind of thing. Like, um, having a laughing fit in some ways. But I mean, there, there, there’s multiple layers to it with music because there’s something about live, like actually, like, you never know what’s gonna actually happen. And the, and, and I’m really big fan of like mistakes. I love mistakes. I think it’s like really important. Um, things going slightly wrong and then coming back and it, and it, it makes you feel alive becasue usyou know, excuse the pun
but it’s like there’s something about live music, which is like, it, it will never happen the same again. And you are kind of on this knife edge, especially at like, it’s not even like necessarily the bigger gigs, but just certain gigs where you, you’re feeling like when you are not on the autopilot, cuz you, we play so much sometimes you’re just like, yeah, doing it. And then you get these like magical gigs, which where you just feel you’re like living exactly in the moment. And it’s like nothing matters. And that is like meditation or something, or like, or like drugs or like, you know, it’s like time can stop and things like tha tand, and I, and yeah, of course the audience, um, it’s a buzz because it’s, it’s like when you feel like everyone in the room is in sync, and that doesn’t happen very often when you feel like everyone is like it’s amazing. And that, and that’s why, you know, like the, the old boys are still doing it. They don’t need the money. They’re, they’re <laugh>. You know what I mean? They don’t need another 50 million. They’re, but they’re like, they want, they miss it. They… it’s amazing. And so you, you know, the, the goal is to be a jobbing musician until you literally can’t hold a guitar.
Paul Boross (00:40:22):
Well, and why not? Because if you love it, I agree. I don’t understand retirement. If you’ve chosen a job that you love, you’ll never work another day and your life. But I’m really interested by what you said about being in sync, because I think that’s the connection between comedy and music is, uh, about rhythm, obviously. But it’s also that thing about reaction and being in sync and that is just so compelling, isn’t it? Mm-hmm. <affirmative>, you, you, you have that ability. I mean, I’m sure you’ve done it on stage when you’ve said something and everybody’s laughed as a thing and it may have been as a result of a mistake or something, which you just owned up to, but that’s a fantastic feeling. Mm-hmm. <affirmative> and having, I think that’s what brings so many comedians and musicians together, is those two things. The rhythm and being in sync. Do, do you think that’s true? Or right?
Luke Pritchard (00:41:25):
I do. I mean, I think sometimes, I mean, it just, the thing is a performer is just, it’s like, especially when, I guess it’s very similar with standup comedy. You’ve got to judge the room at the time. And it’s not that I would like change the set, but you change your, because you’ve gotta break the ice, essentially. That’s the key. And sometimes it’s already broken for you if you go out and everyone’s just like drunk and like up for it and, or they’re just really excited. But sometimes you have to really work for it. And, and I, like I I say I’ve seen standup, you know, it’s like sometimes it’s like quite flat and you just have to find that moment of something. And literally, for me, it could be like a bum wiggle or it can be like talking to someone in the audience or whatever, or, or cracking a joke or like you say, sometimes like if you mess up a song, you stop and you go, I fucked it up guys, we’re starting again. And it’s like all of a sudden and you, you are kinda like, ah, I’m meant to be a pro. And then everyone loves it and they, you know, and it’s weird. And I think, um, that’s, yeah, that’s, that’s the looseness again. You know? And, and it’s what makes it fun again.
Paul Boross (00:42:40):
What I love about that is because the whole Humanology project is a, I always say it’s not just about comedy – I think it’s about humanity. It’s about humility as well as good humour. And the fact that, I love the idea that you can go, do you know what the mistakes are where the beauty happens. But you’ve just described that when you make a mistake and you know, you know, the band all start in F and and you’re in G…
Luke Pritchard (00:43:12):
It’s happened, it’s happened. <laugh> of course. Literally.
Paul Boross (00:43:16):
Yeah. And then you just hold your hands up. That’s the beauty of the humanity coming out. And everybody can relate to that. And that’s, I think where it happened.
Luke Pritchard (00:43:32):
It’s great. I mean, I saw… when we, we were supporting The Stones, like, you know, Keith on one of the shows, like he, the first song Start Me Up and he played a semitone up <laugh> of the riff, right? And, and then he comes down with the band and they’re all like, have like, take, they’re all like laughing, you know what I mean? And you’re like, it’s great, it’s brilliant. And he’s fucking Keith Richard. It’s like great, you know? Um, I mean you don’t get that a lot of the time these days, the amount of times you like do something that is wrong and then you listen back and you’re like, that’s actually really interesting and really cool. And then you kind of develop that idea.
Paul Boross (00:44:13):
I’m really interested in happy accidents because I think that humour aids creativity and I dunno how you feel about that, but in order to have happy accidents, you have to be happy, don’t you?
Luke Pritchard (00:44:30):
<laugh>? Yeah, yeah, yeah, yeah. I guess that’s true. Cause you, otherwise you wouldn’t let it fly. Would you just be anal
Paul Boross (00:44:38):
<laugh> and, and isn’t that Well that, but I think that, uh, a lot of reasons that people don’t succeed. And obviously that’s what we talk about in Humourology is because people are too uptight to be properly creative. And maybe you can just talk about, cuz you’ve written some fantastic songs and, and you’re a great performer as well, but those, those happy accidents and your creativity, what is the attitude, what that you have to allow that, cuz people want to create in all kinds of medium. What do you find is the best way to be in order to be at your most creative?
Luke Pritchard (00:45:19):
Firstly, very kind words. I mean, I’d like to think I get, I get to these points, but, for me, I think one of the things I’ve had told, like people have said to me in a funny way is that like, I’m very quick to just be like, that’s great. Like I choose what, like I have my opinion quite quick and I’m just like, do it, you know, don’t overthink it. And I think the, the fear is the overthinking and the fear is a bad thing. So you want, like, if you, you know I’m a big Dylan fan, you know, and it’s like when you read about his early stuff he would get, you know, he would write these songs and he would just get the musicians. They didn’t even know what chords they were playing.
Do you know what I mean? <laugh>, and they, and it, and it’s like second take, you know, if you listen to Like A Rolling Stone or whatever, and you, you solo all the instruments and they’re all mad. Like, I mean, the organ’s like wrong, everything’s wrong, but together, something really magical happens. And I’m not saying that I do that all the time, but sometimes that’s really cool. Just being very impulsive. And something I’ve learned with vocals, for example, is just like first takes, second takes, you know? I’ve been guilty of the other way. And same with, with, with any artist. Like Dylan’s made lots of polished records, you know, but it’s like there’s something, uh, it’s cool to do that stuff, but it sometimes what’s important is to, like you say, not be, not think too far in the future even it’s just like doing it, um, being quite impulsive. And if it doesn’t work, who cares?
Paul Boross (00:46:58):
It’s trusting your instincts, isn’t it?
Luke Pritchard (00:47:01):
Is, it is. But, but I also I really, it’s very hard to do, but I’ve, I often just try, you try and think what, like, the people listening to it, you know what I mean? They, they don’t want it. They, people want, they don’t want like, um, or I don’t want to hear something that seems laboured. Do you know what I mean?
Paul Boross (00:47:25):
Too perfect. Perfect. Is it necessarily attractive? Is it even in a person, you know, the, you know, the perfect body, the perfect look, that’s not necessarily the most attractive. And I think that’s true in music, I think and in humour. It’s, you don’t want it absolutely perfect. You want it, you know, with a little bit. Well, it has to feel natural, doesn’t it?
Luke Pritchard (00:47:53):
Yeah, it does. And, and with humour, you know, sometimes it has to be close to the line and I mean, the line is different for everyone, but sometimes with humour is gotta be close to the line because almost you’re like, can you say that? Did he just say that? Did she just say it? It is, that’s part of humour that why it breaks you out of the, the normal life because it’s the absurd absurdity as well sometimes.
Paul Boross (00:48:21):
Uh, have you ever sort of crossed the line and gone too far? You don’t have to tell us how and when, but I’m presuming you must have done in order to pull yourself back.
Luke Pritchard (00:48:33):
Yeah, I definitely have in songs, in songwriting, I think I wrote a song called Mrs. Thompson and the lyrics, I’m not even gonna repeat it with, I thought they were really funny, but in hindsight, not so funny. <laugh> and luckily we, we, I think it was just a B side, that’s not really my style is to as a, in a way. Do you know what I mean? I like don’t really crack jokes on the line cuz I probably would get it wrong. <laugh>
Paul Boross (00:49:06):
<laugh>. Well, but on a broader scale, do you think that you can be a good communicator without understanding humour? I mean, cuz some of your songs are have a wonderful lightness and a humorous edge to them, don’t they? They’re not sort of.
Luke Pritchard (00:49:25):
Oh yeah, I hope so. Yeah,
Paul Boross (00:49:27):
No, no, no. But I mean, I think, you know, I’ve, I’ve seen an audience go absolutely mental, just we’re hearing the first chords of Seaside for instance, whereby they know that that’s just a lightness and a wonderful atmosphere about it. But can a great communicator be great without humour? I, I just wanted, cuz the Beatles understood humour. I think Dylan understood humour.
Luke Pritchard (00:49:56):
Yeah, oh definitely. Yeah. He’s got some really fun ones.
Paul Boross (00:50:02):
Well, yeah, I mean, so there’s stuff on Blood on the Tracks, which is so cruel.
Luke Pritchard (00:50:08):
<laugh> Yeah. That it’s humour. Humour. Exactly. What’s that? Positively? Fourth Street. Fucking hilarious.
Paul Boross (00:50:14):
Oh, oh yeah. And oh, Subterranean Homesick Blues,and oh, and actually On Blood on the Tracks, The Idiot Wind
Luke Pritchard (00:50:26):
<laugh>. Oh yeah. Every damn you’re feeling that’s so yeah, and it’s cool, it’s cruel humour, but it’s, it’s brilliant. I mean, and it, and he does understand, uh, or he does go there and that’s,
Paul Boross (00:50:39):
Well I think that’s quite tongue in cheek.
Luke Pritchard (00:50:42):
There are people you could, you could name like, maybe like Tom Yorke who’s a genius, but he doesn’t really have much humour but then he is got like weird fishes. Maybe he’s quite a strange, like he’s quite abstract and weird, but, so I guess you can think, think of a few people who communicate without putting too much humour in their music. But I think it definitely helps a lot. And I think, um, the, I think the best particularly like, yeah in the, in it in the sixties, people were very good at it and I, and I missed that a bit. I think people were very good at it in that era of tracing that line of like, yeah, like it’s, it’s deep, but with a real light touch and humour and, and, and I guess in the seventies it got all a bit more serious but um, and the eighties came and it was all fun again. <laugh>.
Paul Boross (00:51:44):
Well that’s, you know, uh, Morris Minor and Majors came in the eighties. What can I tell you? You know?
Luke Pritchard (00:51:50):
There you go. <laugh>, you’re
Paul Boross (00:51:51):
Part of it. It’s interesting cuz when you were talking about the fun in the sixties and that thing I automatically, you already mentioned thought of The Kinks and that very, I mean, you know, Dedicated Follower of Fashion and things like that are just fun, observant, absurd songs about the sort of strange people, which I, I actually love mm-hmm. <affirmative>
Luke Pritchard (00:52:16):
And the British Empire, you know, and like, just really like in a humorous way making, uh, social commentary where it’s not really it’s not too heavy. So it’s like, it makes you think and it puts a mirror up to society, but it’s fucking funny. <laugh> it’s like, you know, it’s not, not doom and gloom.
Paul Boross (00:52:39):
You’ve been on stages all over the world and, and, and worked some of the hardest audiences at festivals and in clubs and of now people listening to this, most of them are scared of just standing on stage – what advice would you give to anyone out there who has to get up on stage, even if it’s just to make a speech at a leaving do or a wedding? What, what advice would you give to them?
Luke Pritchard (00:53:09):
It’s a bit like skydiving. It’s like on the way up it’s kind of hard, but then when you jump out, it’s all up <laugh>. I think it’s great. I think it’s freedom to me. It’s freedom. I think people I think people who think it’ll be quite difficult will be surprised and it takes time as well. It takes a minute, maybe to be comfortable in there. But the main thing I’d say is just the attitude has to be like it. Whatever happens, it’s okay. It doesn’t, you know, it’s not, it’s not nuclear war, you know, it’s like it’s gonna be all right and people have got your back. People, I mean, I find for example, I find it very hard. I don’t mind admitting, I find it very hard like public speaking, which is funny cuz you are obviously incredible. That’s what you do and you are very comfortable in that situation. I find that I find that builds up. But then once you’re on there and you do it, it’s like it everyone’s like on-side, you know what I mean? Everyone wants to laugh and have a good time. So yeah.
Paul Boross (00:54:19):
Isn’t that just, uh, the attitude thing? Cuz I thought it was very interesting that you’re talking about have an attitude of like they’re lovely. All the audience are li are are gonna be lovely and they’re gonna be on your side. So it’s about adjusting your attitude beforehand, isn’t it?
Luke Pritchard (00:54:37):
Yeah. And if they’re not then make ’em <laugh> <laugh>. It’s possible. It’s, uh, I, yeah, I don’t know. I dunno. It’s, I think, yes, so adjusting the attitude is the it it is the only way because you are, if you don’t do it, it’s the kind of thing. It’s like if you don’t do it and get up there and try at least, like you are, you are not, uh, experiencing something really amazing in life and, and that’s that you should look at it like that. It’s like an experience thing, you know?
Paul Boross (00:55:09):
Oh, that’s interesting. Uh, so what do you actually do? What’s your thought process before you go on?
Luke Pritchard (00:55:17):
<laugh>? Um, it depends, you know, it really depends. Usually I’m just thinking about like the washing, I gotta do <laugh>, like thinking about people I need to call back. Like, no. But I guess I’m lucky cuz you know, I’ve got, when I play with the boys, there’s all, we’re all there together. We can just have a laugh and um, you know, I you obviously you get a bit nervous for or, or you get like, uh, the, the kind of adrenaline pumping when you are backstage ready to go on. Um, but I love it. I find it, it’s, it’s great. So I usually, I’m pacing round a bit, listen to some music loud and I’ll probably have a shot of tequila,
Paul Boross (00:56:03):
But Nice. Well there’s a, there’s a great bit of advice for everybody. Have a shot of tequila before you go on!
Luke Pritchard (00:56:07):
It works. Yeah, yeah.
Paul Boross (00:56:12):
It’s, well no, it’s interesting isn’t it? Because I always say to people that psychologically speaking, there are two types of people in the world. There are those who get nervous and there are liars!
Luke Pritchard (00:56:25):
Paul Boross (00:56:28):
But it’s true because, you know, you’ve worked for 20 odd years have been working the biggest stages in the world and, and festivals and arenas. Uh, and yet you still have those nerves Oh yeah, it’s normal. It’s how you channel those nerves, isn’t it?
Luke Pritchard (00:56:47):
Yes. And it never goes away. And it’s also to be embraced really, cuz that’s the fun of it. You know what, what’s the point? Otherwise, you just be robotic on stage. I mean, to be a great performer, you need that, those, that adrenaline, that nervousness, um, it means, it means something, I think. And so, yeah. Yeah. I mean, I’m not gonna lie, there are, you know, there are occasionally gigs where you just, I don’t know, it just doesn’t cross your mind, but almost like 99%. Yeah. You are there and you’re kind of like, okay, here we go. Here we go.
Paul Boross (00:57:27):
Well, you look forward to it, don’t you? You look for it because it’s that little adrenaline rush is, I mean, it’s, if we go back to biological imperatives, it’s getting you ready, isn’t it? Fight or flight.
Luke Pritchard (00:57:40):
Yeah! Fight or flight. <laugh>. Yeah. Yeah, yeah. That’s a funny way of looking at it. It kind of is. It’s a bit like that. Um, we’re going over the trenches. <laugh> sometimes.
Paul Boross (00:57:53):
Yeah. Well, it is, but, but it’s, it’s how you frame it in your world. Well, we’ve reached the part of the show, Luke, which we like to call Quick Fire Questions. Quickfire, Fire Questions.
Luke Pritchard (00:58:10):
That’s where we have the sting, by the way. That’s where we have the sting <laugh>. No, by the way, you can go on for as long as you like. It doesn’t matter. It is <laugh>. We call ’em quick fire questions, but some people answer for 10 minutes without each question, so it doesn’t have to be. Alright. So, quick fire question number one. Uh, this is a strange one and I don’t know if you’ve got an answer for this, but who’s the funniest business person that you’ve met?
The probably probably my, my brother-in-law now. He just married my sister, Dan French. He, he’s a CEO. No one’s quite sure what he does exactly. It’s something to do with software. Very successful, very cool guy. And he just, his humour is just filthy. It’s <laugh>. He’s brilliant. He’s very funny. He makes me laugh a lot. Um, and he, yeah, he, he’s a very jovial man, so I’ll pick him.
Paul Boross (00:59:12):
Shout out to Dan. Dan French. Ladies and gentlemen, the funniest man in business. Now you’ve got something to live up to. Dan, haven’t you, <laugh>? What book makes you laugh, Luke?
Luke Pritchard (00:59:27):
There’s a book that I’ve read a few times that, uh, it gets quite dark, but the beginning always like, I’d be in tears of laughter is The Rum Diary. Hunter S Thompson.
Paul Boross (00:59:38):
Luke Pritchard (00:59:39):
It’s very funny. Very funny. so I’ll pick that one. Yes. Hunter S Thompson The Rum Diary.
Paul Boross (00:59:47):
I must look it up.
Luke Pritchard (00:59:49):
A good one
Paul Boross (00:59:49):
hI have read some Hunter s Thompson, but not that one. What film makes you laugh? Luke?
Luke Pritchard (00:59:57):
Paul Boross (00:59:59):
<laugh> Eddie Murphy.
Luke Pritchard (01:00:02):
That one sprung into my mind. I mean, I love that kind of era of comedy and uh, yeah, that always gets me going.
Paul Boross (01:00:13):
Are you the only musician in the world who is not going to ma name Spinal Tap as one of your favourites?
Luke Pritchard (01:00:20):
<laugh>. You know what, I love that film. I haven’t seen it for a long time. And it’s actually we’ve all been saying we, we, on tour, we’re gonna rent a cinema and screen it while we’re on tour <laugh>, because everyone’s been talking about how long they, long it’s been since they’ve seen it. So yeah, that one, it’s very, very accurate. Which everyone must say.
Mean, I literally, yeah, I mean, I’ve literally been trying to find a stage for an hour before. Yeah, it happens.
Paul Boross (01:00:47):
<laugh> just take a little jog to the right when you get to the end.
Luke Pritchard (01:00:51):
<laugh> <laugh>. So good.
Paul Boross (01:00:55):
Have you, have you had that situation whereby – you’ve probably been the band who have seen the band who’s on the way down and you are the band coming up, you know, the scene in Spinal Tap where one band is playing The Enorma Dome and the other band <laugh>?
Luke Pritchard (01:01:16):
Oh yeah, definitely. Done that. There’s a few, there’s the one is it in Nottingham? There’s the famous venue where it’s like, there’s, there’s three venues. It’s the one that is actually famous it’s, I think it’s an Ozzie Osborne, story of where he couldn’t find the stage <laugh>. Cause there’s three venues and yeah, we have experienced that. Yeah, it can be quite awkward sometimes. Yeah. <laugh>.
Paul Boross (01:01:42):
And then have you turned rounded afterwards and gone to the lead singer? He’s got that much talent. That much
Luke Pritchard (01:01:48):
<laugh>. Next time,
Paul Boross (01:01:50):
Next time, next time. Let’s take a shift to the other side, Luke, because, we’re gonna ask the question, what’s not funny?
Luke Pritchard (01:02:02):
I mean, I’m on, you see, for me it’s like in the right context, I think anything can be funny. And I think that’s quite important to, quite to, it is very topical at the moment with comedy. Um, what is alright and what’s not All right. But I think it, if it, it, I I think it’s all about, um, this is something Ellie always says that I think’s very wise. Uh, it’s all about the intention. And it’s like, if, if the intention is good and then, and it’s funny, then I think you can go there. Um, so that’s my answer. Sorry. It’s a bit, uh, of a cop-out <laugh>.
Paul Boross (01:02:45):
No, I don’t, I don’t think it is. And I, I think I always worry that, who’s going to be in charge of deciding what’s funny? Um, and you know, does it come down? Because everything comes down to personal taste. And I, I think Ellie is very wise in saying that because if your intent is right, you can laugh about anything, you know, because but if you are deliberately punching down to hurt someone
Luke Pritchard (01:03:15):
Paul Boross (01:03:16):
Then your intent isn’t right.
Luke Pritchard (01:03:18):
That’s exactly how I see it. So it’s a bit, it’s, it’s a bit up to, um, interpretation, but yes, I really believe that a hundred percent. And we, and, and that’s, uh, that’s how it should be because that’s part of humour as well is to We’ve got you, we’ve got to, we’ve got to use it as a nice, uh, fun way of bringing up big subjects sometimes that are harder to talk about.
Paul Boross (01:03:45):
Excellent point, excellent point. It’s a, it’s a good lead in to difficult things. I think that’s, uh, brilliant. What word makes you laugh?
Luke Pritchard (01:03:55):
Gnome, <laugh>, maybe it’s cuz of David Bowie. I don’t know. No, no. <laugh>
Paul Boross (01:04:03):
I thought of Bowie immediately actually The Laughing Gnome.
Luke Pritchard (01:04:07):
Yeah. Yeah. We had it on the other day at The Roses. I’ve always found the silent G to be quite funny. <laugh>
Paul Boross (01:04:19):
It is, I know. No, nobody on the Humourology podcast has chosen Gnome yet, so it’s all yours. And the thing “Ain’t you got no Gnome to go to?” is the gag in the end of the David Bowie thing. Isn’t it?
Luke Pritchard (01:04:34):
So good. So good. Yeah.
Paul Boross (01:04:36):
<laugh>. What sound makes you laugh?
Luke Pritchard (01:04:41):
My kid laughing <laugh>.
Paul Boross (01:04:44):
Yeah. I thought that might be,
Luke Pritchard (01:04:47):
Yeah, off the top of my head.
Paul Boross (01:04:49):
No, but that’s beautiful as well, isn’t it? And I don’t think there’s any pure form of laughter than the laughter of a child. And the way it hits a parent is
Luke Pritchard (01:05:00):
Just, yeah, you can’t not laugh. Right? It’s like a real, it’s it’s an it is. You don’t even think about it. It’s just, yeah.
Paul Boross (01:05:06):
Yeah. Oh, it’s beautiful. That’s beautiful. Would you rather be considered clever or funny? Luke?
Luke Pritchard (01:05:13):
That’s a difficult question. Can I have both? <laugh>, <laugh>,
Paul Boross (01:05:17):
You’re gonna have to pay the extra.-
Luke Pritchard (01:05:18):
Uh, <laugh>, I guess. Cause I don’t really think of myself as being that funny, so I think clever.
Paul Boross (01:05:30):
Luke Pritchard (01:05:31):
Paul Boross (01:05:33):
<laugh>, wind-swept intellectual and interesting.
Luke Pritchard (01:05:39):
You got it. That’s it. That’s how I would like to be perceived. Unfortunately that hasn’t happened yet, but <laugh> one day.
Paul Boross (01:05:46):
One day. Uh, and finally Luke Desert Island gags. You can only take one joke with you to a desert island. What would it be?
Luke Pritchard (01:05:58):
Um, because I’m a musician. I guess it’s gotta be a drummer joke. And the one, uh, how do you know when a drummer is knocking on your door? Speeds up towards the end. <laugh>.
Paul Boross (01:06:16):
Luke Pritchard (01:06:17):
How’s the delivery, Paul? How’s the delivery? Was that alright?
Paul Boross (01:06:20):
Perfect. And it did speed up towards the end to be frank, but yes, <laugh>,
Luke Pritchard (01:06:27):
That’s it. That’s the punchline.
Paul Boross (01:06:29):
Oh, that’s brilliant. And so topical and so musical and so brilliant. Thank you so much for being a fantastic guest on the Humourology podcast. Luke.
Luke Pritchard (01:06:41):
It’s been a pleasure. It’s been insightful, and thank you for having me. And yeah, all the love, and humour…
Paul Boross (01:06:49):
All the love and all the laughter.
Luke Pritchard (01:06:53):
There you go.
Paul Boross (01:06:54):
Thanks mate. Great.
Luke Pritchard (01:06:56):
Paul Boross (01:06:58):
The Humourology Podcast was hosted by Paul Boross, produced by David Rose. Music by Steve Haworth, creative direction by Les Hughes, and additional research by Helen Sykes. Please remember to subscribe, like, and leave a review wherever you get your podcasts. This has been a Big Sky production.