I think where you play is important.

I am very sensitive to music, so I can quite easily allow myself to access that space in which I am completely taken over. And you can get quite a reaction out of the crowd when you do that.

The closer you get to the source, the more you begin to understand its essential nature.

There actually had been a tradition within English music of the '60s of people looking eastwards, maybe in quite a naïve way, but nonetheless, you had musicians like George Harrison or Bryan Jones recording the musicians of Joujouka in North Africa.

When I was growing up, my idea of Led Zeppelin was all epic lasers, castles, and ten-minute drum solos - that sort of thing.

I think what a lot of people forget is that a lot of the music in the '60s and the '70s was made in the spirit of daring, spontaneity, and adventure, so the minute all that sinks into this sense of a classic form, it has lost its spirit.

I have a lot of experience in playing all sorts of venues. And one of my interests is to understand what constitutes the vibe of a place and what makes one concert different from another. You can't fully measure or calculate these things, yet they are absolutely evident once you're on stage.