Japan is quite weird because they wait for you to say something before they respond. You can literally hear a pin drop, they don't make a sound until you say something to the crowd.

We've got a great bench of songs, and the people have a really good time at our Stereophonics's shows. People are the same all over the world. If we can play football stadiums and arenas in one country, there's no reason we can't play them in another country. People are people.

To maintain a consistency when people come to see the band takes a lot of work; it takes a lot of discipline. I go to the studio every day and sing and play. I never did that when I was, like, 30. I'd probably have a drink and walk on - and see what comes out. But now if there's ten albums' worth of material people are coming to hear some of, and they've paid money for a ticket, you become a different person when you go on and you want to give the best show you can. You want to be better at what you do.

To remain relevant though, I think making great records is the key.

Our band Stereophonics never wanted to release a couple records and be the biggest band in the world for 10 minutes. We always wanted to stand the test of time, and make great music that people would want to listen to and that music lasts. We'd looked up to artists and bands that had big back catalogues.

I don't really know how to do anything else except music. But I do. I've never felt more comfortable doing it. When I was put into arenas and stadiums when I was 27, I always thought somebody was going to say, 'No, they're not here for you.' You don't quite believe that they actually like you, because it's an extreme change in your life. Which is insane really, because they bought the ticket. So you start feeling more comfortable in your skin the more you do something, or the older you get.

We didn't really want to be an overnight success as that brings with it its own problems.