I've been having this really weird anxiety dream about arriving too late or too early, and the people in charge are like, 'You have to leave! You have to go back to the hotel and get ready!' And I use the wrong exit, and I'm running down the red carpet in ­pyjamas, like, 'No! Don't look at me!'

It was a complete dream to work with David LaChapelle. I collected his books as a teenager, and I fantasised that he would direct the video for 'Spectrum' from the moment the song was written. I still can't believe it actually happened, 
and I'm completely overjoyed that he felt such a connection with the song.

My style of playing is more enthusiasm and instinct than skill.

Growing up, I always wanted to be in punk bands, so I'm really enjoying the harder, heavier element. It's always been my dream to have people moshing at my gig, kind of that really feral element of the music coming out more. I love crowd-surfing.

I think I should get a bigger between-the-song persona, so then I'm not wandering around the stage like some mad old auntie that's saying hello to people and falling over.

The music is so euphoric,as a way of battling the words. It’s like an exorcism, beating it out with drums, shake this demon out, it’s so visceral because the melancholy has to be drummed out. I can’t let it sit inside me.

'Dog Days' was recorded with pens and the wall, and half a stolen drum kit that was out of tune, in what was basically a cupboard. The only instrument I could really play was my voice, so we just layered everything a hundred times. It was enthusiasm over skill.