I suppose my biggest concern would be if the planet is going to be in good enough shape for the next generation to have the privileges that we've had.

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.

The whole positioning and atmosphere of the song ["King of the Mountain"] was to build up this thunderstorm that would take us all onstage off into a story where we were suddenly in the middle of the ocean.

That doesn't matter. If it speaks to them and they get something positive from it, it's great.

You'll never know that you had all of me. You'll never know the poetry you've stirred in me.

I've learned you can't take any steps to protect any art. It is so vulnerable.

I think as a mature artist, you're probably always trying to undo the compromises of one's self [in general]. It's not necessarily to do with youth.