I saw Stephen Sondheim's Sweeney Todd, which I thought was a masterpiece. Not that long ago, I listened to Blackstar by David Bowie and thought that was a masterpiece. Those are two incredibly talented people who've left their mark with us.

The more I think about sex, the better it gets. Here we have a purpose in life, good for the blood circulation, good for releasing the tension.

I don't really listen to my old stuff, but on occasion, I would either hear a track on the radio or a friend might play me one, and there was generally a bit of an edgy sound to it, which was mainly due to the digital equipment that we were using, which was state of the art at the time - and I think everyone felt pressured to be working that way.

You have a different audience. Your personal energy is different because some days you're energized, some nights you might be tired so that affects your memory and your emotion.

I split it up into working on the two narrative pieces that can tell a story. The scariest thing was whether I'd be any good performing live again. It was such a long time since I'd done any live work. It's so different for me than recording. Every night my audiences were what I would dream of. You could just feel their support.

We deliberately chose a small theatre so that the show was still intimate and the audience would become a part of the show.

Apart from the first set - which used high-level concert lighting - once you stepped into the two narrative pieces, we were working with lower-level theatrical lights. In most cases, people were really respectful of that.