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2007年11月XFM.co.uk报道：Tom带病坚持War Child表演
Keane In Gig Vomit Incident
Nov. 1, 2007
Keane singer Tom Chaplin was stuck down with a severe throat infection and gastro enteritis during the first of the band’s two Warchild charity shows, forcing him to leave the stage – twice – to throw up. Hmmm tasty.
As we previously reported, Keane were scheduled to play two live shows to raise money and awareness for Warchild this week. The first at the Manchester Apollo last night (October 31) and the second at Brixton Academy tonight.
However disaster struck on Wednesday when singer Tom became sick. But somehow he battled through last night’s gig, with slightly unpleasant and, one imagines, slightly unhygienic results. A statement from the event organisers reads:
“Tom from Keane was struck down with a severe throat infection and gastro enteritis during rehearsals for the Keane War child event. On stage in Manchester, Tom had to leave to vomit on at least two occasions, after being sick all day, but like a true professional Tom played on – delighting the Manchester audience and raising thousands for War Child.
“The show had to finish 15 minutes early as paramedics had to be called, but Peter Kaye held court delighting a satisfied and sympathetic audience.”
However, tonight’s show – which also includes performances from Lilly Allen, The Pet Shop Boys and The Magic Numbers – will still be going ahead despite Tom’s illness, as the statement continues “War Child is an extremely important charity to him and Keane and in his own words… The show must go on!”
These two events and the release of Keane’s new single ‘The Night Sky’ are part of Warchild’s appeal to raise £1.5million for the children of Iraq. For more information see www.warchild.org.uk
Xfm would like to wish Tom all the best for tonight’s performance.
Posted 七月 26th, 2008. 添加评论
2007年10月《The Sun》报道Keane为Warchild表演
Keane plot big Warchild gig
By CARL STROUD
Published: 24 Oct 2007
In Iraq one child dies every five minutes.
Six hundred and fifty five thousand children have lost their lives as a result of the conflict in the country.
And 8.2 million Iraqis are dependent on food rations.
It’s these shocking statistics that prompted Keane to pledge all they could to help charity Warchild.
“We’re not the kind of people who turn up to the opening of an envelope,” says frontman TOM CHAPLIN. “We feel if we’re going to get involved in anything we need to feel passionate about it. We have no fear in sticking our necks out and telling our fans about just what is going on in Iraq.”
The piano-bashing trio of TIM RICE-OXLEY, Tom and RICHARD HUGHES are the proud ambassadors of Warchild’s Iraq appeal.
All proceeds from a pair of shows, Manchester Apollo on October 31 and Brixton Academy on November 1, will go to the charity.
Profits from new single The Night Sky will be handed over too.
And it’s the charity’s dedication that particularly attracted Chaplin.
He says: “What we feel is so great about Warchild is that while everybody else, especially in the south of Iraq, seem to be quitting, Warchild is the one international child support agency that is remaining there and is offering what is basically the only solution left.
“Without Warchild, that’s it. There won’t be any support for many many children, so that’s why we feel it’s an absolute must that this campaign works out.”
The threesome have set themselves an audacious fund-raising target, as Richard explains: “The aim is to raise £1.5 million to fund a three year campaign in Iraq, which will help a quarter of a million people.
“Hopefully, between the two shows we should get £100,000 through ticket sales alone. And the same goes for the single.”
The gigs themselves are set to be starry affairs. While the Manchester date will see the multi-platinum chart champs headline on their own, the London show will see a raft of talents take to the stage.
Pet Shop Boys, The Magic Numbers, The Guillemots, Teddy Thompson and more will all be performing on the night.
And Tom secured their agreement through a novel and surprisingly complicated means.
“We actually sent hand-written letters out to people,” he revealed. “That was a bit of a challenge because I discovered I’d actually lost the ability to write by hand.
“Obviously some people said no, mainly because they were on tour, but in the main people said yes. We were very flattered with the response.
“I think Warchild has had an incredible effect on music. But I also think, especially at this point in time, given the mess and controversy that surrounds Britain’s involvement in Iraq, that a lot of people feel strongly that it would be nice to do something positive.
“It’s definitely gathered momentum very quickly.”
Warchild managing director MARK WADDINGTON adds: “What we’re using this show for is to gain as wide an audience as we can for the Iraq appeal. People can donate money by texting child to 88818 and people can also pledge their support on the website www.warchildiraqappeal.com.”
Pet Shop Boys NEIL TENNANT and CHRIS LOWE have a special significance for the trio.
“Without them there would be no Keane,” states Richard. “They’re the band that made (songwriter) Tim first listen to music. All of the people on the bill we admire hugely.”
“I don’t feel like it’s a headline gig,” adds Tom. “I like to think of it as Keane presents. We just want to bring all these people together. It’s wonderful how all these musicians are converging in a selfless way to do something.
“We feel we’re part of a bigger picture when it comes to this show. In some ways I’m quite terrified about having to introduce all these people and I hope that we do our best and don’t make an embarrassment of ourselves.”
The single itself, The Night Sky, marks a radical departure in terms of Keane’s songwriting. It’s written from the perspective of a small child affected by conflict.
Tom explains: “Obviously we, with western news programmes often see the reporter in front of a building with a bit of smoke in the distance and you don’t get a feel for what it must be like.
“The people who feel that sense of despair and fear the most must be the children who are in those war zones.
“That was something that really interest us and provided the germ for that song.”
The frontman sees himself following in the footsteps of global campaigners like BONO and BOB GELDOF.
He adds: “A lot of bands have been scared off by some negative reactions there’ve been.
“Two of the biggest campaigners around are Bono and Bob Geldof and they consistently seem to come in for a lot of stick.
“As far as I’m concerned they’re doing unbelievably brilliant work and trying hard to battle against governments who basically lie and cheat and don’t fulfil their promises.
“Whether it’s tunnel vision I just see the goal, which is raising money for Warchild and having a huge influence on many lives.”
Posted 七月 26th, 2008. 添加评论
2007年9月Q杂志10月刊：Tim Rice-Oxley [PIANO MAN]
Tim Rice-Oxley [PIANO MAN]
Q Magazine issue of October
点击看大图
“Superman talented” is how Gwen Stefani described Keane’s 31 year old pianist, lyricist and songwriter after they collaborated together. The array of awards he’s amassed – an Ivor Novello, two Brits and a Q award – suggest she’s right. A card carrying pop fan, he’s as likely to enthuse about A-ha as Kanye west. “People are disappointed” he says. It doesn’t fit with the idea of what a British indie band should like.
What was the first song you ever wrote?
I got into trying to write my own songs when I was 13 years old and I already knew both of the guys. I remember swapping songs with Tom. There was one called Refrain. “Refrain / from breaking my heart / again”. It was ****.
Are you from “musical stock”?
My parents were both very into classical music. My dad was always singing in choirs and playing piano – we had a small honky-tonk piano I was supposed to practise on but never did. I saw all sorts of operas when I was a kid. And I remember watching [Fred Astaire and Ginger Rogers classic] Top Hat. I got into a lot of Fred Astaire and from there into a lot of Irving Berlin and Jerome Kern and all those Gershwin numbers. Until I was about 12, the only pop music I was aware of was Buddy Holly, Simon and Garfunkel and The Beatles.
What changed?
The first time I really got into pop was when my friend Owen had a copy of the Now 11 compilation on double cassette. It had some great stuff on it: Belinda Carlisle, Billy Ocean..but the one I really liked was the cover of Always on My Mind by the Pet Shop Boys. I played it over and over. My dad told me it was an Elvis song, and I went back and listened to the Elvis version…it sounded really boring. I became hooked on that pop energy.
How do you write? Which comes first, words or music?
I would say music. The idea of writing a song is to either sit down at a piano or guitar, and a nugget comes. Songs are normally focused on a great hook, and that hook is always lyrical as well as musical. If you took All You Need Is Love and replaced it with something about shopping for vegetables, it wouldn’t be as good. You know, you get those moments when a little genius phase, musical or lyrical comes out. Then you’ve broken the back of a song. And that can happen in five seconds. And the rest of the time that’s what you’re searching for.
How does your mood affect your songwriting? Is it a bad day for you a good day for songs?
Definitely. Even when I first started writing that was true. A lot of that teenage angst worked its way into songs. “Why do pretty girls hate me?” Exactly. That’s basically the same today, one way or another.
Are there particular circumstances in which “the muse” is more compliant?
The best high in life is when you sit down in the evening and the hours just go, and you get that magical thing when it’s just flowing out. You spend a lot of time searching [for that]. That’s what makes it such a great thing. I get massive mood swings that are pretty much defined by how my song writing is going.
Who is the greatest songwriter ever?
Paul Simon. He’s shown this incredible hunger for different things, from enormous pop smashes such as Mrs Robinson to Still Crazy After All These Years- an incredible song, the feeling of loss and regret that song has, which people think of as easy listening – right through to Graceland, which is a million miles from that. He did personal songs in a much more direct and honest way than someone like Dylan who’s constantly referred to [as great].
Tom sings the songs you write. Does that allow you to write words that you wouldn’t have the nerve to sing?
My view of writing songs is that you should never hold anything back. The rawer the better as far as I’m concerned. It’s probably easier for me knowing that Tom is going to be the one who has to stand up there in front of 20,000 people and articulate that. I think I’m instinctively aware of the fact that he’s going to be singing the stuff: we’ve been making music together for the last 20 years. I’m very lucky. He always takes a song up a lot from the way it sounds when I write it.
Hamburg song was written about the relationship between you and him….
I’ve never done that before. And with Hamburg Song I started writing almost about myself. The first verse I’d written about my wife, about what she must feel about me sometimes (“I’d like to bring a little light/to shine a light on your life/to make you feel loved”), once all the crazy band stuff kicked off. And then we got into the studio and it all poured out and turned into a song that was really about [the] friendship [between Tom and me]. I did think, “This is going to be quite awkward.” But if it’s painful to write or to play, then that’s a kind of job well done.
Will Tom’s problems with drink and drugs influence your songwriting?
I’m sure it will. I hope it influences us in something other than 12 songs about rehab. There are songs that I have written in the really dark times last year…I can think of one song in particular that was about Tom, which was a pretty angry song, but as time went on I started to think, “Well, there are two sides to this story”, and turned it into a song that was more about my own mistakes, as much as anything. It was really just a miserable time all round.
How do the new songs sound?
We’ve got one that’s Kanye West-ish. I think it sounds pretty enormous, moving forward beyond the straight indie music that everyone else is doing. You want that instant punch in the gut. It goes back to the Pet Shop Boys. They made a brilliant three minute pop song that gets you first time and stays with you a lifetime. It’s about changing someone’s life in three minutes. Amazing if you can do it. That’s the thrill of the chase.
What’s your secret?
To try to articulate the thoughts that are the most painful to articulate. It’s a hard thing. The great mystery of music is that no one knows why it affects people all over the world. I’ve learnt more about the world listening to pop music that I have from anything else.
TAKE 5
Tim Rice- Oxley on his best songs
Bedshaped
“I love this one. One of those songs I don’t really know where it came from”
Is it any wonder?
“It articulates something that a lot of people have felt over the last few years; being powerless and totally misrepresented”
Atlantic
“A very different song for us. The drums make the song. It’s very primal. About the terror of dying alone.”
The Frog Prince
“There’s something about the bubbling cauldron feeling, the atmosphere of tension, that I was pleased to be able to put into a song”
Fly to me
“Probably nobody’s ever heard it, but it’s the one Keane song guaranteed to reduce me to tears every time”
