A lot of things which come with a high profile will always be criticised one way or another.

Concerts have to be seen as a real event for which the aim is to try and feed everybody.

I associate going to an airport with work because I travel so much with my job. So when I have a few days free from work, I tend to stay at home.

I think I can only help to expose percussion to all sorts of people. The balance between the lighter and more serious side is important.

And as I grew older, I then auditioned for the Royal Academy of Music in London, and they said, well, no, we won't accept you, because we haven't a clue - you know - of the future of a so-called 'deaf' musician. And I just couldn't quite accept that.

I am really quite fascinated by echo-locating bats and dolphins and have always wondered how sound affects the unconscious brain.

I suppose I don't hear things, but I listen, if you know what I mean. And there is a big difference between hearing and listening. So it's like a conversation, you know. When you speak to someone, it's one on one, and that's exactly how I play.