WEBVTT 00:00:01.189 --> 00:00:03.750 Nick and Sue. This edition of the Chatterbox 00:00:03.750 --> 00:00:06.150 Redux podcast is brought to you in association 00:00:06.150 --> 00:00:09.230 with the Old Glory Iconic Music and Sports Superstore. 00:00:09.490 --> 00:00:16.129 More from them in a bit. Chatterbox. When the 00:00:16.129 --> 00:00:31.339 stars talk, they talk to Nick and Sue. Welcome 00:00:31.339 --> 00:00:34.359 back to the Chatterbox Redux Podcast and today 00:00:34.359 --> 00:01:11.599 our special guest is Delta. this is nick and 00:01:11.599 --> 00:01:14.579 sue with chatterbox giving you all you need to 00:01:14.579 --> 00:01:22.780 know about music entertainment oh yeah chatterbox 00:01:22.780 --> 00:01:28.780 the best interviews with nick and sue the best 00:01:28.780 --> 00:01:38.459 news And now in Chatterbox, we're just lucky 00:01:38.459 --> 00:01:41.760 enough to welcome Greek singer -songwriter, mega 00:01:41.760 --> 00:01:44.340 artist Delta. Welcome. How are you? Hi. Hello, 00:01:44.439 --> 00:01:46.579 Nick. I'm well. How are you? Great. Yes. And 00:01:46.579 --> 00:01:49.760 it's great to meet you. I was aware of you before, 00:01:49.760 --> 00:01:52.459 but in Greece, you seem to be quite a superstar. 00:01:53.359 --> 00:01:57.560 And even in recent times, you did the Eurovision 00:01:57.560 --> 00:02:01.359 thing. Tell us a bit about that and the way you 00:02:01.359 --> 00:02:04.519 got selected. the whole voting thing, how it 00:02:04.519 --> 00:02:06.180 works in, because obviously it's a closed shop 00:02:06.180 --> 00:02:09.080 in the UK, which is how we get such bad entries 00:02:09.080 --> 00:02:12.080 that do so badly, but it sounds exciting in Greece, 00:02:12.199 --> 00:02:15.250 so tell us all about it. Yes, so Eurovision in 00:02:15.250 --> 00:02:18.669 Greece is quite of a big cultural phenomenon 00:02:18.669 --> 00:02:21.389 because everyone just rallies around the contestant 00:02:21.389 --> 00:02:24.930 and loves Eurovision. So people are very much 00:02:24.930 --> 00:02:28.229 invested as to who goes and then support them 00:02:28.229 --> 00:02:31.870 full on. This year, the government actually launched 00:02:31.870 --> 00:02:34.349 a website where you could go online, submit a 00:02:34.349 --> 00:02:36.770 song on your profile. And it doesn't matter if 00:02:36.770 --> 00:02:38.449 you're like completely unknown or the biggest 00:02:38.449 --> 00:02:41.310 artist in Greece, they're all evaluated by an 00:02:41.310 --> 00:02:44.020 independent panel who just listen to the songs 00:02:44.020 --> 00:02:47.039 and select the top 28 songs to compete on live 00:02:47.039 --> 00:02:51.759 TV. And this year, 280 artists applied, which 00:02:51.759 --> 00:02:53.780 when I heard the number, it was very daunting. 00:02:53.900 --> 00:02:56.240 So I thought, OK, there is no way my song is 00:02:56.240 --> 00:02:59.180 making it to the final. But I'm very glad that 00:02:59.180 --> 00:03:02.120 it did. And it was quite an experience. Yeah, 00:03:02.159 --> 00:03:05.280 I came out third in the public vote. So people 00:03:05.280 --> 00:03:08.639 seem to really enjoy the track and the performance, 00:03:08.659 --> 00:03:12.400 hopefully. So yeah, it's very good. Is it something 00:03:12.400 --> 00:03:14.599 you could build on? Would you do it again? Because 00:03:14.599 --> 00:03:17.379 that's not bad out of 280 for a first time. You're 00:03:17.379 --> 00:03:19.500 getting yourself known in Greece. I'm listening 00:03:19.500 --> 00:03:21.240 to your staff. It sounds really good. I think 00:03:21.240 --> 00:03:23.680 you've had hits in Greece. So you're going to 00:03:23.680 --> 00:03:26.740 do it again next year? I mean, I don't know. 00:03:26.840 --> 00:03:28.759 I don't know if it's going to be next year because 00:03:28.759 --> 00:03:31.819 I would do it again only if I felt that I had 00:03:31.819 --> 00:03:36.039 a song that would do really, really well. Sure. 00:03:36.539 --> 00:03:40.340 Because also Eurovision can be a tremendous thing. 00:03:40.669 --> 00:03:43.590 but also it can be sort of a trap as well. So 00:03:43.590 --> 00:03:45.530 if you don't do well in the actual competition, 00:03:45.590 --> 00:03:48.590 I'm not sure how it helps your career. As you 00:03:48.590 --> 00:03:53.050 reference the British now act this year, I'm 00:03:53.050 --> 00:03:55.949 not, you know, even though it was a model computer, 00:03:56.210 --> 00:03:59.830 is that the name? So, so he, I think, you know, 00:03:59.830 --> 00:04:02.129 he got through, but I'm, but because the song, 00:04:02.150 --> 00:04:03.969 I don't think it was the right one and didn't 00:04:03.969 --> 00:04:06.490 really connect. I'm not sure it gave, you know, 00:04:06.610 --> 00:04:09.750 him a sort of big aftermath in terms of like 00:04:09.750 --> 00:04:12.419 a career. Yeah. And then took it on his own back 00:04:12.419 --> 00:04:15.560 to sing in German, which nothing goes, but you 00:04:15.560 --> 00:04:17.199 know, I thought when there was a little point 00:04:17.199 --> 00:04:18.680 where he goes, oh yeah, I thought that might 00:04:18.680 --> 00:04:20.439 be a bit offensive to Germans. I heard him, but 00:04:20.439 --> 00:04:22.800 then when he sang in German, I thought, no, we've 00:04:22.800 --> 00:04:24.899 gone very wrong. It's not good. You know what, 00:04:25.300 --> 00:04:27.379 like what was very funny is that like I watched 00:04:27.379 --> 00:04:31.379 an interview of his. I was embarrassed. Yeah. 00:04:31.639 --> 00:04:34.100 I mean, it's the same, same in a way. I'm half 00:04:34.100 --> 00:04:37.740 English, so my mom is from Manchester. So I, 00:04:38.079 --> 00:04:40.519 when I saw him, so they asked him, so why do 00:04:40.519 --> 00:04:43.000 you prefer ein zwei drei? Because it's called 00:04:43.000 --> 00:04:45.180 drei in German, it's like a different pronunciation. 00:04:45.939 --> 00:04:49.279 And he said, oh, we Brits aren't very good at 00:04:49.279 --> 00:04:51.199 pronouncing other people's languages. And I thought, 00:04:51.360 --> 00:04:54.459 oh my God, that's a horrible thing to say, you 00:04:54.459 --> 00:04:59.240 know. I think, yeah, anyway. But. Yeah, I think, 00:04:59.240 --> 00:05:02.439 yeah. I think maybe people would sing in English 00:05:02.439 --> 00:05:04.980 in the Eurovision because If there is a language 00:05:04.980 --> 00:05:06.899 that somebody else speaks, it tends to be that 00:05:06.899 --> 00:05:09.379 in Europe. So why you want to sing in German, 00:05:09.399 --> 00:05:11.779 I don't know. It doesn't quite, but that's his 00:05:11.779 --> 00:05:16.699 choice. I will say that a few artists try to 00:05:16.699 --> 00:05:19.500 like sing in different languages because the 00:05:19.500 --> 00:05:22.240 idea is that you become more appealing to that 00:05:22.240 --> 00:05:24.459 nationality. But then again, if you do that, 00:05:24.620 --> 00:05:27.540 you better pronounce the words at least. That's 00:05:27.540 --> 00:05:30.089 what I'll say. I mean, French sounds beautiful, 00:05:30.350 --> 00:05:31.829 whatever you're singing, Italian sounds beautiful. 00:05:33.170 --> 00:05:36.110 Anyway, let's talk about you. Very exciting. 00:05:36.410 --> 00:05:38.129 It's great to speak to you as you went through 00:05:38.129 --> 00:05:40.889 that this year. Great experience for you. Let's 00:05:40.889 --> 00:05:43.209 talk about you in Greece and the releases you've 00:05:43.209 --> 00:05:45.649 had in Greece before we talk about this first 00:05:45.649 --> 00:05:48.589 album here. What sort of releases have you done 00:05:48.589 --> 00:05:53.350 in Greece so far? So I've released a few songs, 00:05:53.350 --> 00:05:55.870 I mean... globally like on Spotify, which is 00:05:55.870 --> 00:05:58.149 like available everywhere. I used to be signed 00:05:58.149 --> 00:06:01.170 to Universal Greece for a couple of years back 00:06:01.170 --> 00:06:05.569 in 2021, 2023. So that helped a bit, you know, 00:06:05.610 --> 00:06:10.069 sort of have a somewhat sort of known, I was 00:06:10.069 --> 00:06:13.290 sort of known in this sort of very cult English 00:06:13.290 --> 00:06:15.730 speaking, you know, sort of audience like in 00:06:15.730 --> 00:06:19.290 Athens. But then it is very different to where 00:06:19.290 --> 00:06:23.160 I'm at now where like I I think through the Eurovision 00:06:23.160 --> 00:06:25.439 Song Contest, like even if you intend to or not, 00:06:25.560 --> 00:06:29.060 you sort of are exposed to the mainstream. So 00:06:29.060 --> 00:06:32.339 Man About It was a song that became a top 10 00:06:32.339 --> 00:06:37.279 hit in Greece. So that is really amazing to see 00:06:37.279 --> 00:06:40.639 and how people resonate with the track. So yeah, 00:06:40.819 --> 00:06:43.319 I'll say it. Yeah, I have been releasing music 00:06:43.319 --> 00:06:45.439 for a while, but now it has started in the past, 00:06:45.439 --> 00:06:48.720 I say six to 12 months to really pick up. Sure. 00:06:48.939 --> 00:06:50.779 I mean, it's a great song anyway. I've listened 00:06:50.779 --> 00:06:52.899 to it quite a bit. Yeah, but it's an amazing 00:06:52.899 --> 00:06:57.420 song. I enjoy it. It is good. I like it. We'll 00:06:57.420 --> 00:06:59.879 be playing a few of your songs when the interview 00:06:59.879 --> 00:07:02.519 goes out. And also, when you're in Greece, I 00:07:02.519 --> 00:07:05.279 mean, what sort of venues do you play and do 00:07:05.279 --> 00:07:07.920 you do festivals in Greece? Yes. So actually, 00:07:07.939 --> 00:07:11.839 I'm playing a festival this Sunday. I'm headlining. 00:07:12.259 --> 00:07:15.540 It's a festival with a big radio station in Athens. 00:07:16.000 --> 00:07:19.980 And I mean, I used to do like 150 to 200 cap 00:07:19.980 --> 00:07:23.160 venues before Eurovision. Now we're playing 700 00:07:23.160 --> 00:07:26.399 cap in November in Athens, which is fantastic. 00:07:26.759 --> 00:07:30.480 But also to be honest, you know, I am again a 00:07:30.480 --> 00:07:35.279 bit daunted when I like, you know, sort of. Google 00:07:35.279 --> 00:07:37.600 the venue and saw the size of the room or like 00:07:37.600 --> 00:07:39.939 wow like I can't believe that that many people 00:07:39.939 --> 00:07:42.339 are gonna buy a ticket to watch me perform you 00:07:42.339 --> 00:07:45.480 know it feels very surreal and I'm also glad 00:07:45.480 --> 00:07:48.079 to say that also in the UK like London got sold 00:07:48.079 --> 00:07:52.139 out 150 cap back in May so things have been going 00:07:52.139 --> 00:07:54.160 really well and also the album is just coming 00:07:54.160 --> 00:07:57.480 out now so which we'll talk about in just a moment. 00:07:57.600 --> 00:08:00.819 So let's talk about in the UK. You've just been 00:08:00.819 --> 00:08:04.420 on tour. Tell us about the whole tour and the 00:08:04.420 --> 00:08:06.220 support thing. Tell us about that, what you've 00:08:06.220 --> 00:08:08.920 been up to. Yes, of course. So I've been touring 00:08:08.920 --> 00:08:12.319 with the Marmosets around the UK, which was fantastic. 00:08:12.379 --> 00:08:15.459 They have a new album just out, which is unbelievable. 00:08:16.040 --> 00:08:18.459 And they're also really nice people backstage 00:08:18.459 --> 00:08:21.120 as well. So it was very nice to hang out and 00:08:21.120 --> 00:08:24.490 feel like you're on tour with friends. Yeah, 00:08:24.569 --> 00:08:27.230 so we went all the way from Sheffield to Oxford, 00:08:27.709 --> 00:08:30.730 Brighton, so like all over really. Great cities. 00:08:31.449 --> 00:08:34.110 Brighton's the nearest city you came to and it's 00:08:34.110 --> 00:08:36.370 a great city. If you had the chance to see Brighton, 00:08:36.470 --> 00:08:39.009 it's so lively and vibrant. It's got everything. 00:08:39.649 --> 00:08:41.509 Yeah, yeah. It's great. If you had the chance 00:08:41.509 --> 00:08:43.990 to feel Brighton... I played The Great Escape 00:08:43.990 --> 00:08:48.620 as well. Oh, yes, brilliant. Yeah, yeah, yeah, 00:08:48.620 --> 00:08:51.299 it's amazing. And I love how, you know, as a 00:08:51.299 --> 00:08:53.620 sort of growing up in Athens, being close to 00:08:53.620 --> 00:08:56.539 the sea, sort of this familiar territory for 00:08:56.539 --> 00:09:00.700 me. Yeah, I felt like home. Yes, it's 30. Well, 00:09:00.779 --> 00:09:02.159 the football grounds, because I go and watch 00:09:02.159 --> 00:09:04.059 the football, Brighton, who are in the Premiership. 00:09:04.779 --> 00:09:07.879 They are 35 miles from my front door, so it's 00:09:07.879 --> 00:09:11.620 close. OK, yeah. And of course, we go there to 00:09:11.620 --> 00:09:15.320 go shopping. We go to... shows, cinema and especially 00:09:15.320 --> 00:09:20.659 concerts. It's got it all. Okay, so how did you 00:09:20.659 --> 00:09:25.500 get the gig? Did they ask you or how did it work 00:09:25.500 --> 00:09:30.440 out for you? So my manager knew their agent and 00:09:30.440 --> 00:09:32.179 because I have an album coming out and we're 00:09:32.179 --> 00:09:34.740 really looking for someone to support to help 00:09:34.740 --> 00:09:37.779 sort of promote the album as well. Yeah, they 00:09:37.779 --> 00:09:40.240 like the music and I found that once I met them 00:09:40.240 --> 00:09:42.799 over a pint that they told me that they had over 00:09:42.799 --> 00:09:46.000 60 people who wanted to be on the tour. But they 00:09:46.000 --> 00:09:50.639 are quite selective as to who they want on. So 00:09:50.639 --> 00:09:54.250 yeah. What I find is people that have done sort 00:09:54.250 --> 00:09:57.509 of support like that in the UK quite often end 00:09:57.509 --> 00:10:00.090 up supporting other people and other people and 00:10:00.090 --> 00:10:02.929 other people it probably lead to something and 00:10:02.929 --> 00:10:06.490 I mean what's interesting about the music industry 00:10:06.490 --> 00:10:10.029 is that everyone you know sort of knows each 00:10:10.029 --> 00:10:14.139 other so you know so If you say that you threw 00:10:14.139 --> 00:10:16.620 the marmoset, it's not only good for your CV, 00:10:16.700 --> 00:10:18.700 but maybe they're mates with someone else that 00:10:18.700 --> 00:10:20.480 you want to tour and then they lost them. So 00:10:20.480 --> 00:10:22.620 how is Delta? They're like, oh, hopefully they'll 00:10:22.620 --> 00:10:25.279 say, oh, he's great. So, you know, it's easier 00:10:25.279 --> 00:10:27.559 to sort of go on more support tours and yeah. 00:10:27.740 --> 00:10:29.320 Yeah. And of course, if they come to Greece, 00:10:29.519 --> 00:10:31.059 it's obvious who they're going to ring up, isn't 00:10:31.059 --> 00:10:35.590 it? Yeah, exactly should be should be right. 00:10:35.690 --> 00:10:37.269 Let's talk about this album. What I heard of 00:10:37.269 --> 00:10:41.990 it. It sounds really good. So Mad about it. So 00:10:41.990 --> 00:10:43.889 yeah, let's let's go through some of the track. 00:10:43.970 --> 00:10:46.769 It's my debut album Yeah, obviously the title 00:10:46.769 --> 00:10:50.970 track is mad about it. So yeah It sounds wonderful. 00:10:50.970 --> 00:10:52.929 Tell us a bit about the track. Anyway, just tell 00:10:52.929 --> 00:10:56.710 us the story behind it so this song is the last 00:10:56.710 --> 00:10:59.850 song that I wrote for the album and it's very 00:10:59.850 --> 00:11:03.419 interesting because it felt very much like the 00:11:03.419 --> 00:11:05.840 final imprint that was required, you know, to 00:11:05.840 --> 00:11:10.559 finish this body of work. So the story is, it's 00:11:10.559 --> 00:11:16.919 December 2024, I'll say, yes, oh my God, like 00:11:16.919 --> 00:11:20.480 a year and a half ago, and I was, the album was 00:11:20.480 --> 00:11:22.799 supposed to be done, we had arranged like a recording 00:11:22.799 --> 00:11:25.440 session, and how these things happened, I did 00:11:25.440 --> 00:11:27.759 like one last go, knowing that the album was 00:11:27.759 --> 00:11:30.259 done, to really push myself and experiment into 00:11:30.259 --> 00:11:33.980 a different sound. and I went to a friend's place 00:11:33.980 --> 00:11:37.659 in Lisbon to his flat and I remember as soon 00:11:37.659 --> 00:11:40.159 as I arrived at his place I guess I want to write 00:11:40.159 --> 00:11:43.700 this song where I want an analog synthesizer 00:11:43.700 --> 00:11:47.259 with the predominant sort of sound and for it 00:11:47.259 --> 00:11:50.399 to be like an intro that sounds a bit weird, 00:11:50.460 --> 00:11:53.299 but has a pattern. Yes, I mean, I don't know 00:11:53.299 --> 00:11:54.980 if I can have any of that, but I have an old 00:11:54.980 --> 00:11:58.440 Moog synthesizer in my living room that we can 00:11:58.440 --> 00:12:00.500 experiment with. And because I don't know how 00:12:00.500 --> 00:12:03.360 to use a Moog, that really helped, because I 00:12:03.360 --> 00:12:05.299 was essentially trying to create an arpeggiator 00:12:05.299 --> 00:12:09.419 sound. the Moog doesn't have an arpeggiator built 00:12:09.419 --> 00:12:12.659 in, we just turned a knob that changed the octaves, 00:12:12.860 --> 00:12:16.279 which ended up producing the sound in the intro 00:12:16.279 --> 00:12:19.639 that's sort of quite binary and sounds like quite 00:12:19.639 --> 00:12:23.080 electronic. And then the song was written over 00:12:23.080 --> 00:12:25.299 like a couple of hours. As soon as that sound 00:12:25.299 --> 00:12:29.480 came on, I just, yeah, immediately viably pressed 00:12:29.480 --> 00:12:32.039 record and a couple of hours later we had the 00:12:32.039 --> 00:12:38.580 song. Usually I don't know if a song is good 00:12:38.580 --> 00:12:41.399 or not, because they're all sort of my children 00:12:41.399 --> 00:12:47.500 in a way. What I remember distinctly is that 00:12:47.500 --> 00:12:49.659 when I wrote that song, I listened to the demo 00:12:49.659 --> 00:12:53.559 on my phone about 20 times that day. That same 00:12:53.559 --> 00:12:57.399 night and the next morning. I was just vibing 00:12:57.399 --> 00:12:59.720 on my own, which is always a very good sign. 00:12:59.879 --> 00:13:01.740 And if it sounds good on the phone, it's got 00:13:01.740 --> 00:13:03.840 to sound really good, isn't it? Yeah, exactly. 00:13:04.960 --> 00:13:07.419 And we have a saying in the UK, I don't know 00:13:07.419 --> 00:13:09.399 if it's the same in Greece and other countries, 00:13:09.440 --> 00:13:12.340 I think in America as well, but maybe, especially 00:13:12.340 --> 00:13:14.840 with television, we say, but you should never 00:13:14.840 --> 00:13:18.039 work with children or animals. But I see track 00:13:18.039 --> 00:13:20.360 two is called Kids and track three is called 00:13:20.360 --> 00:13:22.639 Animals. Now, what's the story behind them? Is 00:13:22.639 --> 00:13:27.240 there anything wrong? So, essentially, so Kids 00:13:27.240 --> 00:13:33.210 is a political song, actually. And it's my sort 00:13:33.210 --> 00:13:38.649 of perspective of watching, you know, myself 00:13:38.649 --> 00:13:43.450 and the world around me sort of passively observe 00:13:43.450 --> 00:13:46.149 what's happening around us. And a lot of times 00:13:46.149 --> 00:13:47.909 I think, you know, we just scroll through and 00:13:47.909 --> 00:13:49.870 you watch headlines, you know, what's happening 00:13:49.870 --> 00:13:51.590 in the Middle East or what's happening in America 00:13:51.590 --> 00:13:54.029 or what's happening all over the world. And, 00:13:54.029 --> 00:13:57.480 you know, it's just... that and then a funny 00:13:57.480 --> 00:13:59.539 video of a cat dancing or whatever, you know, 00:13:59.720 --> 00:14:01.539 like something just very different. And we just 00:14:01.539 --> 00:14:04.480 sort of don't pay enough attention to the things 00:14:04.480 --> 00:14:06.360 that we shouldn't be paying attention to. And 00:14:06.360 --> 00:14:08.960 that's why this song is called Kids because the 00:14:08.960 --> 00:14:12.220 chorus ends with a British phrase that I actually 00:14:12.220 --> 00:14:14.200 heard from a friend of mine, which I found very 00:14:14.200 --> 00:14:16.279 interesting, is the kids will be all right. And 00:14:16.279 --> 00:14:17.700 that's the first time I heard it. I'm like, what 00:14:17.700 --> 00:14:21.440 do you mean? And I loved it. You know, I loved 00:14:21.440 --> 00:14:26.779 how, I don't know, sort of... You know, using 00:14:26.779 --> 00:14:30.240 different contexts can sound quite dystopian. 00:14:44.120 --> 00:14:46.100 They are a family owned business founded back 00:14:46.100 --> 00:14:49.759 in 1969. 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Beyond the Gear, I'm proud to 00:15:22.149 --> 00:15:24.350 partner with them because every purchase through 00:15:24.350 --> 00:15:27.250 our link supports a bigger goal. Abortion of 00:15:27.250 --> 00:15:29.970 our commission goes directly to the Stripe Climate 00:15:29.970 --> 00:15:33.129 Program, helping fund carbon removal technologies 00:15:33.129 --> 00:15:36.509 to combat climate change. Upgrade your wardrobe 00:15:36.509 --> 00:15:42.669 and support the planet. Use code CBUKRDUX at 00:15:42.669 --> 00:15:46.289 oldglory .com for 15 % off your entire order. 00:15:46.370 --> 00:15:48.169 The link is also waiting for you in the show 00:15:48.169 --> 00:15:53.159 notes of this podcast. Don't forget CBUKRDUX. 00:16:07.980 --> 00:16:10.159 Animals again was written actually in Athens 00:16:10.159 --> 00:16:14.659 and I was after a night out and I came back and 00:16:14.659 --> 00:16:18.580 I wrote that guitar riff. When I came back home 00:16:18.580 --> 00:16:22.100 and and like most of the song that night and 00:16:22.100 --> 00:16:25.179 I remember just you know observing sort of people 00:16:25.179 --> 00:16:30.639 around me and how You know if we abstract things 00:16:30.639 --> 00:16:33.940 a bit like we do have like super animalistic 00:16:33.940 --> 00:16:36.240 Behaviors like if you go out in a club you see 00:16:36.240 --> 00:16:38.320 the boys all together walking around, you know 00:16:38.320 --> 00:16:40.980 It's like it's crazy and and that's how the idea 00:16:40.980 --> 00:16:45.100 came about Yeah Are you, would you say when it 00:16:45.100 --> 00:16:47.059 comes to songwriting, would you say you're a 00:16:47.059 --> 00:16:50.120 people watcher and maybe if you run out of ideas, 00:16:50.799 --> 00:16:52.620 do you jump on the metro if you need an idea 00:16:52.620 --> 00:16:54.299 of a song and just people watch? Does it work 00:16:54.299 --> 00:16:58.220 like that? I think people watching and observing 00:16:58.220 --> 00:17:01.019 is a very big part of it. A second big part is 00:17:01.019 --> 00:17:03.840 me, you know, sort of watching something and 00:17:03.840 --> 00:17:08.140 creating a story in my head as to like what this 00:17:08.140 --> 00:17:12.119 person's story might be. But also at the same 00:17:12.119 --> 00:17:13.900 time very often I'll go through something on 00:17:13.900 --> 00:17:16.039 my own and try to write something about like 00:17:16.039 --> 00:17:18.819 my own experience of a situation so I think all 00:17:18.819 --> 00:17:21.980 three are important because If you just rely 00:17:21.980 --> 00:17:24.119 I think on your own experiences then you need 00:17:24.119 --> 00:17:26.299 to go through things all the time yourself and 00:17:26.299 --> 00:17:28.980 that can be quite dangerous because If you go 00:17:28.980 --> 00:17:30.440 through a happy period then there is nothing 00:17:30.440 --> 00:17:39.079 to write about, you know Daydream's already been 00:17:39.079 --> 00:17:41.200 released as a single, I believe. Yes, exactly. 00:17:43.039 --> 00:17:45.819 Daydream. Who was having the daydream? You or 00:17:45.819 --> 00:17:48.779 somebody else on this occasion? So another sort 00:17:48.779 --> 00:17:51.859 of interesting fact, Daydream was written, I 00:17:51.859 --> 00:17:57.160 was in LA at the time and I was single, I wasn't 00:17:57.160 --> 00:18:00.700 seeing anyone and I was actually bummed out of 00:18:00.700 --> 00:18:04.000 a previous relationship and I wrote the song 00:18:04.319 --> 00:18:07.920 thinking what it must feel like to be in that 00:18:07.920 --> 00:18:11.240 situation of daydreaming about someone. So that's 00:18:11.240 --> 00:18:13.240 something that my producer also picked up on 00:18:13.240 --> 00:18:15.079 when we were recording the song because he told 00:18:15.079 --> 00:18:18.539 me, it's interesting because the song has very 00:18:18.539 --> 00:18:22.039 happy lyrics and the music is uplifting, but 00:18:22.039 --> 00:18:24.579 the delivery is a bit nostalgic and slightly 00:18:24.579 --> 00:18:28.319 sad. And I think that's the reason because it's 00:18:28.319 --> 00:18:30.279 not as if I was in a relationship being happy 00:18:30.279 --> 00:18:32.650 saying, you know, when you look at me i started 00:18:32.650 --> 00:18:35.329 daydream that's what i thought i would feel like 00:18:35.329 --> 00:18:39.049 if i was in that situation okay yeah okay yeah 00:18:39.049 --> 00:18:41.089 i've got some great titles here to be honest 00:18:41.089 --> 00:18:46.069 with you uh minor detail yeah what can that one 00:18:46.069 --> 00:18:51.210 mean what does it mean so it's got to be important 00:18:51.210 --> 00:18:53.970 enough to write a song about yes i mean it's 00:18:53.970 --> 00:18:56.769 a funny story because we were with some friends 00:18:56.769 --> 00:19:01.180 at a greek island called hydra And I met this 00:19:01.180 --> 00:19:04.680 tourist one night and we started having a conversation. 00:19:05.400 --> 00:19:07.880 And at some point after a couple of drinks, I 00:19:07.880 --> 00:19:10.160 saw on her phone that she had a picture with 00:19:10.160 --> 00:19:12.799 someone that didn't look like it was her brother. 00:19:13.859 --> 00:19:17.759 And I asked her, so what's going on? I thought 00:19:17.759 --> 00:19:20.779 she was single. And she said, yes, I'm sort of 00:19:20.779 --> 00:19:25.079 open. She said, it's just a minor detail. it 00:19:25.079 --> 00:19:27.400 doesn't matter and I thought that's brilliant 00:19:27.400 --> 00:19:30.240 and the next day I wrote I wrote a song and it's 00:19:30.240 --> 00:19:31.559 and it's one of these songs where I actually 00:19:31.559 --> 00:19:33.279 didn't need to be creative at all I just said 00:19:33.279 --> 00:19:36.460 things exactly as they happened you know wonderful 00:19:36.460 --> 00:19:39.960 uh then we got uh two great ones strange and 00:19:39.960 --> 00:19:44.480 blabbermouth what can they yeah so strange was 00:19:44.480 --> 00:19:50.960 written uh about a relationship like uh that 00:19:50.960 --> 00:19:53.319 ended like three years ago. It's the oldest song 00:19:53.319 --> 00:19:57.859 that I've written for the album. And it's interesting 00:19:57.859 --> 00:20:00.079 because the different sections of the song were 00:20:00.079 --> 00:20:02.200 written at different times. So I wrote the verses 00:20:02.200 --> 00:20:04.779 when I was in the relationship. I wrote the chorus 00:20:04.779 --> 00:20:07.619 as soon as we broke up. So that's why I sing 00:20:07.619 --> 00:20:09.750 out like, I want to call your number. Are you 00:20:09.750 --> 00:20:11.430 up for it? Because she started seeing someone 00:20:11.430 --> 00:20:14.450 else and I just wanted to win her back. And then 00:20:14.450 --> 00:20:16.630 six months after the relationship had ended, 00:20:17.089 --> 00:20:20.029 I wrote The Middle Age, which is, you know, realizing 00:20:20.029 --> 00:20:23.230 what this was. So having some perspective. So 00:20:23.230 --> 00:20:28.089 that's strange and a blabbermouth. Yeah. So blabbermouth, 00:20:28.089 --> 00:20:30.430 I was with a person when I was in Athens and 00:20:30.430 --> 00:20:34.930 I was about to move to England and I wasn't. 00:20:34.940 --> 00:20:37.660 gonna, you know, be here for a few months. It 00:20:37.660 --> 00:20:39.700 was very much a conscious life decision. I want 00:20:39.700 --> 00:20:42.619 to move to the UK sort of permanently for now. 00:20:42.660 --> 00:20:46.619 So she wasn't going to move. So we had to break 00:20:46.619 --> 00:20:51.839 up and it was this song expressing how I felt 00:20:51.839 --> 00:20:55.599 about that situation at that time. Then we got 00:20:55.599 --> 00:20:59.000 Lonely Together and Clouds. Tell us about those. 00:20:59.339 --> 00:21:03.019 Yeah, I mean, yes. I mean, Clouds I wrote for 00:21:03.019 --> 00:21:06.170 a friend of mine who I mean, although it's quite 00:21:06.170 --> 00:21:09.849 dark, it's quite an uplifting song because Clouds 00:21:09.849 --> 00:21:12.630 is reassuring someone that things are going to 00:21:12.630 --> 00:21:14.970 be OK. Like even though you go through a tough 00:21:14.970 --> 00:21:16.990 spot, things are like there is life at the end 00:21:16.990 --> 00:21:19.309 of the tunnel. And Lonely Together was written 00:21:19.309 --> 00:21:22.250 about like alienation and a bit like of, you 00:21:22.250 --> 00:21:24.250 know, being lonely. And when I moved to London, 00:21:24.250 --> 00:21:26.250 actually, I wrote that one and I felt like I 00:21:26.250 --> 00:21:28.450 didn't have that many friends. And like, you 00:21:28.450 --> 00:21:30.069 know, I was seeing a girl that I wasn't feeling 00:21:30.069 --> 00:21:33.710 very connected to. And I was just felt like I 00:21:33.710 --> 00:21:36.730 was Yeah, quite lonely, and that's why the song 00:21:36.730 --> 00:21:39.450 came about. And I love the title because I love 00:21:39.450 --> 00:21:42.369 the contrast, lonely together, that doesn't really... 00:21:42.369 --> 00:21:44.569 It's almost like a clickbait title, you know? 00:21:45.170 --> 00:21:47.109 That's good. Well, the last one, this is track 00:21:47.109 --> 00:21:49.390 10. We've got Midnight, so tell us about Midnight. 00:21:50.670 --> 00:21:54.809 Yeah, so I live in East London, and the Overground 00:21:54.809 --> 00:21:56.829 train passes by. And as we were saying before, 00:21:56.950 --> 00:22:00.250 I'm always people -watching, so... Only one night 00:22:00.250 --> 00:22:03.710 I was sad. by the window having a cigarette and 00:22:03.710 --> 00:22:07.630 watching the train go by and I was watching the 00:22:07.630 --> 00:22:11.750 people on the train and I could see them essentially 00:22:11.750 --> 00:22:15.609 you know and like and their facial expressions 00:22:15.609 --> 00:22:17.930 and trying to create stories as to who they were 00:22:17.930 --> 00:22:22.029 and I find very interesting you know the fact 00:22:22.029 --> 00:22:24.650 that you in the same way that you're in the same 00:22:24.650 --> 00:22:26.529 sort of train with someone for some time and 00:22:26.529 --> 00:22:29.430 you hop off and then you got go in the central 00:22:29.430 --> 00:22:32.740 line or whatever that is In the same way like 00:22:32.740 --> 00:22:35.400 in life if you have a destination that you want 00:22:35.400 --> 00:22:38.359 to go to and sometimes people are with you for 00:22:38.359 --> 00:22:40.500 specific moments in time and then you have to 00:22:40.500 --> 00:22:42.819 let them go and you jump on the next train and 00:22:42.819 --> 00:22:45.460 that's what Midnight Passenger is about. Interesting. 00:22:45.759 --> 00:22:47.640 I like it. I like it. Think about especially 00:22:47.640 --> 00:22:49.680 the London Underground or the Overground or whichever 00:22:49.680 --> 00:22:52.920 one you're on. If you're on a carriage with 200 00:22:52.920 --> 00:22:55.829 people they all look so miserable. and unhappy 00:22:55.829 --> 00:22:58.150 and i've wondered now if i was a songwriter this 00:22:58.150 --> 00:23:00.130 would be a great one i'd write a song about all 00:23:00.130 --> 00:23:02.789 200 of them having just been dumped because they 00:23:02.789 --> 00:23:06.230 just looked so unhappy all of them don't they 00:23:06.230 --> 00:23:08.529 yeah i agree i agree i agree and it's the last 00:23:08.529 --> 00:23:10.369 place in the world where you want to be nice 00:23:10.369 --> 00:23:12.009 and pleasant and speak to someone because if 00:23:12.009 --> 00:23:13.569 you do speak to somebody you don't know on the 00:23:13.569 --> 00:23:16.430 underground they're very very wary they wonder 00:23:16.430 --> 00:23:19.089 oh is he trying to rob me is he trying you don't 00:23:19.089 --> 00:23:22.289 do it do you it's really weird exactly That's 00:23:22.289 --> 00:23:24.329 my observation. I'm not making you say things. 00:23:24.329 --> 00:23:28.829 That's my observation Before we do the social 00:23:28.829 --> 00:23:32.789 media Let me ask you so these ten songs. They're 00:23:32.789 --> 00:23:36.269 all great great stories Do the people they're 00:23:36.269 --> 00:23:38.490 about I know some of these people watching people 00:23:38.490 --> 00:23:41.549 you don't know but say the people you did know 00:23:41.549 --> 00:23:44.150 that you've written about Do they know those 00:23:44.150 --> 00:23:49.009 songs about them do you think? So I think a few 00:23:49.009 --> 00:23:52.609 of them do. And it's interesting because I played 00:23:52.609 --> 00:23:55.970 this, you know, I played this song Clouds to 00:23:55.970 --> 00:23:58.390 the friend, I had played to a friend of mine 00:23:58.390 --> 00:24:01.349 and he absolutely loved it. And he's like, wow, 00:24:01.450 --> 00:24:03.569 that's like one of your best songs ever. And 00:24:03.569 --> 00:24:06.369 then I played it for my friend who I wrote it 00:24:06.369 --> 00:24:09.789 about without telling him that this is, you know, 00:24:09.990 --> 00:24:15.279 I was inspired by him. I played him the song 00:24:15.279 --> 00:24:17.700 and he's like, yeah, it's okay. You know, I'm 00:24:17.700 --> 00:24:21.160 not the biggest fan. I'm like, okay. Yeah, that 00:24:21.160 --> 00:24:23.900 is so funny. But usually they don't know unless 00:24:23.900 --> 00:24:26.420 I tell them. And I have told a couple because, 00:24:27.000 --> 00:24:29.440 yeah. Brilliant. I love it. I love it. Let's 00:24:29.440 --> 00:24:33.039 do your social media. So yeah, websites, platforms, 00:24:33.640 --> 00:24:36.539 YouTube channels. Take as long as you need to 00:24:36.539 --> 00:24:40.009 tell our listeners where they can find you. Yes, 00:24:40.890 --> 00:24:43.289 so it's Delta, but it's spelled with a 3 instead 00:24:43.289 --> 00:24:45.750 of an E. So if they want to find me on Spotify, 00:24:46.029 --> 00:24:50.349 it's D3LTA. And it's the same on Instagram and 00:24:50.349 --> 00:24:54.529 TikTok. It's ThisIsD3LTA to find all upcoming 00:24:54.529 --> 00:24:58.710 gigs, concerts, song releases and whatnot. Fantastic. 00:24:59.130 --> 00:25:01.759 Delta, it's been fantastic meeting you. I've 00:25:01.759 --> 00:25:03.960 enjoyed it and I know the listeners on all the 00:25:03.960 --> 00:25:05.980 stations are going to enjoy it as well. Wish 00:25:05.980 --> 00:25:08.539 you every success and hopefully we can do it 00:25:08.539 --> 00:25:10.799 again sometime. Yes, definitely. Thank you very 00:25:10.799 --> 00:25:12.799 much for having me, Nicholas. Thank you. Take 00:25:12.799 --> 00:25:48.089 care. Bye -bye now. Thank you. listening to the 00:25:48.089 --> 00:25:50.970 Chatterbox Redux podcast and today our special 00:25:50.970 --> 00:25:53.549 guest was Delta. If you're interested in becoming 00:25:53.549 --> 00:25:56.569 a future guest on the Chatterbox Redux podcast 00:25:56.569 --> 00:25:59.089 or the radio show Chatterbox UK you're welcome 00:25:59.089 --> 00:26:01.950 to submit songs, books or whatever it is you 00:26:01.950 --> 00:26:05.589 do and send us a CV, synopsis or press release. 00:26:05.869 --> 00:26:08.910 However, we receive several thousand such press 00:26:08.910 --> 00:26:11.849 releases every week and it's impossible to reply 00:26:11.849 --> 00:26:15.009 to each one individually. Why not email us or 00:26:15.009 --> 00:26:17.029 leave a comment because we'd love to know what 00:26:17.029 --> 00:26:19.730 you think of the podcast. Our email address is 00:26:19.730 --> 00:26:23.950 nickelbum at myyahoo .com Alternatively, you 00:26:23.950 --> 00:26:28.170 could write to us. at P .O. Box 26, the Old Observer 00:26:28.170 --> 00:26:31.730 Building, Telford Road, St. Leonard -on -Sea, 00:26:31.970 --> 00:26:37.329 East Sussex, England, TN 38 9LZ. And wherever 00:26:37.329 --> 00:26:39.690 it is you choose to listen to the Chatterbox 00:26:39.690 --> 00:26:42.849 Redux podcast, don't forget to give us a like, 00:26:43.069 --> 00:26:46.049 a follow, a favorite, or whatever it is on that 00:26:46.049 --> 00:26:49.230 platform, just so you don't miss a future episode. 00:26:49.690 --> 00:26:53.210 Sue, myself Nick, and Twinkle the Tuxedo Cat. 00:26:53.609 --> 00:26:56.029 Thank you very much for your company and we look 00:26:56.029 --> 00:26:58.029 forward to welcoming you again next time for 00:26:58.029 --> 00:27:01.349 another Chatterbox Redux podcast. In the meantime, 00:27:01.569 --> 00:27:03.890 take care, we thank you for your company and 00:27:03.890 --> 00:27:46.970 we catch you then. Bye bye. This is Nick and 00:27:46.970 --> 00:27:49.970 Sue with Chatterbox giving you all you need to 00:27:49.970 --> 00:27:58.950 know about musical entertainment Chatterbox the 00:27:58.950 --> 00:28:04.569 best interviews with Nick and Sue the best news