If you believe in what you do and you really want to be in music, just stick at it. It's always a learning process. Enjoy it because I think making music is a privilege, really. In an ideal world, it should also always be fun. As much as possible, make it fun.

The thing with 50 Words of Snow is that it was literally back-to-back from Director's Cut [also released in 2011]. It was more or less that I got to make two albums in one hit. I was already in this space in my mind to be writing and making an album.

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.

Even just making albums - which was more within the structure that I've worked in for years - you have no idea how people will respond. You don't know if it'll be any good whatsoever. It can be terrifying.

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.

They were worried we wouldn't get any radio play at all[ for "A Deal with God" ]. That's why it was changed [to "Running Up That Hill"].

[Theresa May] is very sensible and I think that's a good thing at this point in time.