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.

In some ways, when you re-envision a song like that ["Never Be Mine"], there's a completely different energy to it each night.

Some of the best pop music ever has come out of the States.

Whatever is going on in your life when you're writing has to somehow seep into your work.

When I was singing "King of the Mountain," it was a pivotal point in the show. That's the song that took us from this concert setting of individual songs into the theatrical narrative piece.

School was a very cruel environment and I was a loner. But I learnt to get hurt and I learnt to cope with it.

I didn't dare let my mind wander off.