February 21, 2025 • 13 mins
Groove Armada are legends of dance and electronic music.
Tom Findlay and Andy Cato make up the duo – and have been pumping out tracks for over a quarter of a century, building a reputation as one of the best.
They’ve captured the magic... they’ve reached iconic status... they’ve had to cancel gigs because they were scared too many people would turn up.
And they’re coming back to New Zealand to round off our summer with a bang.
The pair are set to play at Auckland Domain next weekend before heading down to Queenstown, Christchurch and Wellington.
Ticket information can be found at endeavour.live/groovearmada
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:07):
You're listening to the Saturday Morning with Jack Team podcast
from news Talks at be.
Speaker 2 (00:32):
Ah So Good. Groov ar Mada are legends of dance
and electronic music. Tom Finlay and Andy Cato make up
the duo and have been pumping out tracks for more
than a quarter of a century, now building a reputation
as one of the very best. They've captured the magic,
they've reached iconic status. They've had to cancel gigs because
(00:54):
they were scared that too many people would turn up. Yes,
that's the thing. And now they're coming back to New
Zealand to round off our summer with a bang. Tom
and Andy of groov Armada are with us this morning.
Kyoto guy, welcome to the show.
Speaker 3 (01:08):
Thank you very much.
Speaker 2 (01:09):
Tom. Maybe we can start with you. I don't want
to make either of you feel old, but I'm also
aware it. There's almost what thirty years since you guys
started playing music together. Is the rush that you get
from being on stage, whether it's djaying or as part
of a live performance, is the rush the same today
as it's always been.
Speaker 4 (01:31):
It's it's different, but like it's still there, you know,
it's still really exciting. It's like in some ways, it's
like it's quite intense because there's that sense of like,
you know, we're probably near the near the twilight of
our crib and the dawn, so you're kind of conscious
that you need to kind of, you know, really kind
of savor these moments. You know, I guess we've got
a little bit more experience and you haven't got that
(01:53):
kind of that you know, first night nerves. Stuff is
probably a little less intense to me than you used
to be. But yeah, no, it's always really exciting. It's
always sort of trying to come to a new space
and assess the vibe and try to make the right
decisions in the heat At the moment, that's still as
complicated as ever been.
Speaker 2 (02:07):
You know, am I right in thinking that you guys
have supposedly retired three times?
Speaker 5 (02:14):
I don't believe the rumors. It was to do with
the It was to do with the live shows, and
we we called it, We called it a day with
the live shows a couple of times and then made
very joyful comebacks. But the djaying has always been there
since the beginning. It's always been a kind of unchanging
backbone of the whole group of marketing experience.
Speaker 2 (02:34):
Yeah, yeah, that makes it. So what is it that
keeps you hanging on? What what keeps you in, you know,
savoring the kind of experience that you always have.
Speaker 3 (02:46):
I mean it's just you.
Speaker 4 (02:46):
Know, like it's done for It's just a really love
to be able to do for a living, you know,
like it's like we still love music, you know, where music.
Speaker 3 (02:53):
File files first and foremost and.
Speaker 4 (02:55):
So and then partly it's just that sort of I
think we grew up like as everyone did, but for
us in that kind of the weekend was such a
key part of our experience.
Speaker 3 (03:04):
You know.
Speaker 4 (03:04):
Peteng used to say welcome to the weekend on the
front and that was just like what everything was about.
Speaker 3 (03:08):
And I still feel like I live in that rhythm
a bit.
Speaker 4 (03:11):
You know, I can't quite imagine not having the odd
adventure on a weekend. So this is a great way
of doing that and getting paid for as well. So
it's perfect.
Speaker 2 (03:19):
It's amazing how much music has changed in the last
you know, in the last few decades.
Speaker 5 (03:23):
Obviously with the digital.
Speaker 2 (03:24):
Revolution, the tools that are available to artists and musicians
have massively expanded. How do you guys reflect on the
music that you were making in those early years with
the kind of tools that are accessible for artists these days, well.
Speaker 5 (03:40):
It has completely changed, as you're saying, And like all things,
there are good bits and bad bits, you know. So
the idea that you can make a sort of professionally
rendered recording without out leaving your your bedroom, or actually
without leaving your bed in a lot of instances is
kind of amazing and liberating. On the other hand, looking
back on some of the early music we made, restriction
(04:01):
on options is a very creative force, and I think
making music in the world where everything is unlimited choice
is quite challenging.
Speaker 4 (04:10):
You know.
Speaker 5 (04:11):
I watched my son do it and we wrestled with
it a little bit now as well, though we haven't
quite got all the plugins that he has. But yeah,
it's not always more, is not always better.
Speaker 2 (04:21):
Can you explain that to me? Explain the restrictions sometimes
being a creatively beneficial thing.
Speaker 5 (04:28):
Well, like you take out the river for example, defining
tune for us. So that happened because we'd gone off
to the middle of nowhere to get some piece and
quiet to write a few tunes to promote some London parties,
and we went down the shop to buy some beers
and potato waffles, which was our kind of daily ration.
And on the counter was a CD that was Sounds
(04:49):
of the fifties Americana, and we threw that in the
heap on the on the sort of off chance there
might be some samples on there. And it had this
song by Patty Page called old cape cod really lovely tune,
really nice. Cause I had my trombone with me because
I was still making a living at the time from
playing jazz gigs. I need practice, so we copied the chords.
I was perhapicing the trombone, thought, oh, you know, that
(05:11):
sounds quite nice. How can we remember that we had
no microphone, but there were some speakers in the cottage,
and if you flip the wires on a speaker, it
becomes a microphone, So we take those two. A guitar
lead managed to record the trombone and then on the asample.
At the time, there's no computers at that point, so
you have a tiny amount of memories. You can only
only use little snippets of the vocal, so you've got
(05:32):
cello tate microphone snippets of vocal two string noises to
choose from. On the synthesizer on one bass sound. The
whole thing's done in forty five minutes, and so I
think it means that you focus on the idea rather
than the sounds, rather than getting obsessed with the sounds
when you haven't got a great ideas the It's the
classic Keith Jarrett Coln concert dichotomy. I'm not sure if
(05:53):
you guys are familiar with that story, but Keith Jarrett
playing improvisational jairs on a piano, played preps his greatest
eve A gig on a piano that wasn't tuned properly,
and the top keys and the low keys had to
be absolutely smashed to get any noise out of it.
And consequently, by having to think outside the square, it
kind of sparked creativity that might not have otherwise been sparked,
(06:16):
which is amazing. Yeah, that is quite remarkable that the
human creativity can work in that way. Do you think
that that electronic music and that dance music is particularly
susceptible to AI and the changes that that technology is
going to mean for our societies.
Speaker 4 (06:38):
I think to some extent it might be, But I
also think that sort of you know, great dance music,
like any form of music will always out, you know,
the stuff that really deserves to be that sounds distinct
and brilliant, Like, you know, AI is not going to.
Speaker 3 (06:51):
Keep to half punk.
Speaker 4 (06:51):
You know that AO is probably not going to create
ology either, like these kind of really unusual collisions of sound.
Speaker 3 (06:57):
I still think that would be fine.
Speaker 4 (06:58):
But yeah, there probably is a kind of dirge of
wish wash kind of you know, cocktail lounges dance music
at one nineteen beats a minute that AI is going
to knock out pretty successfully. But now that's going to
change the world.
Speaker 2 (07:10):
Yeah, there's like a frision or a magic that maybe
still comes from the human element. Well, it's the types
at the very least you're listening to news talks. He'd
the Jack Taim speaking with Tom and Andy who make
up Groove a Mada ahead of the March shows. How
important are collaborations for you guys from a creative perspective
(07:32):
in particular, How has that helped to maintain the magic
that you get from creating music.
Speaker 5 (07:40):
I think it's been been critical. You know, I'm in
the and just an amazing privilege to spend time you know,
in studios, sometimes tour buses, on stage of people like
Candy Staton, Richie Richie Haven's, Nana Cherry and a whole
host of other people. And you know, there's just something
about that. It's just such an exciting moment when you're
(08:01):
making music and you and you come up with with
with a lovely kind of pad, and then you setting
that off to someone, or you work with someone in
the studio and guide them a little bit, and you
and you get a load of vocal ideas and in
amongst it all, I think what we've always been quite
good at is having the antennae to say that bit there,
(08:21):
and that moment where you hear the bit in the
vocal with those particular chord changes, and it's just the
hairs go up on the back of your neck and
you build it all around that. You know, that's that's
a magical thing. So getting that input from people of
that caliber to work with has been amazing.
Speaker 2 (08:36):
Is it just a case of trusting your gap?
Speaker 5 (08:41):
What else is there?
Speaker 4 (08:42):
Really?
Speaker 5 (08:42):
I mean, it's like either you feel it or you
don't feel it. I think one of the lovely things
about Tom and I work it together so long is
that it will be completely unspoken. And we're working on
a tune and it's gone a bit too far my
way or Tom's way, and we won't even have to
say it directly, but there'll be a mainly unspoken exchange
(09:05):
that goes on there till eventually it ends up in
the groove Armada lane. It's a pretty wide lane, but
it's also it's a very distinctive blend of where both
of us are happy.
Speaker 2 (09:15):
How do you distinguish between each of those respective ways
your weigh and Tom's way?
Speaker 5 (09:21):
These are things that you just can't really put into words,
you know, But but you know, whenever we go into
these situations, like I am already knowing what Tom's feeling
about it, and the same will be true the other
way around. And it's these unspoken trade offs, I think,
which mean that despite having wildly eclectic styles across the albums,
(09:43):
there's something about it all which says groog mad.
Speaker 2 (09:46):
Tom, you're trying to be a CBT therapist, right to
tell us about that?
Speaker 3 (09:50):
Well, yeah, I'm doing.
Speaker 4 (09:51):
I'm practicing as a CBT therapist now. So well, I'm
more of a counselor now. But I work at a
university in London called King's College, London, so I do that, Yeah,
three days a week and it works really well. Actually,
it's like I just came back from work today and
it was really lovely day. Actually I worked with students
and had some really interesting conversations and then but they're
(10:14):
really supportive of me, and you know, like when I
tell them I'm going off to Australian New Zealand to
do some dates, they're always really behind it.
Speaker 3 (10:20):
So it's that perfect.
Speaker 4 (10:21):
But it's been been a really lovely thing to do,
and I particularly love this population now, Like I worked
originally in the NHS, you know, the National Health Service,
which was which was was good, but I started doing
time then during the pandemic, so it was kind of
pretty stressful for lots of different reasons. But now I'm
sort of you know, working with students, a really interesting
group of people.
Speaker 3 (10:40):
And no one't got any clue what I do for
a side hustle. It's really nice.
Speaker 2 (10:45):
Yeah. What was the attraction about about CBT therapy in particular,
because it seems, I mean, it seems like a fascinating
thing to be involved with.
Speaker 4 (10:55):
Yeah, I mean there's there's you know, like I think
I struggled with my mental health. I was quite depressed
about fifteen years ago, and I think at that time
there wasn't the kind of conversations going on about about
mental health, particularly in the music industry.
Speaker 3 (11:09):
There are now, and.
Speaker 4 (11:09):
I really think they're great, and people are much more
open about talking about that.
Speaker 3 (11:14):
So I am just personally CBT was quite effective for me.
Speaker 4 (11:17):
You know. It's about kind of essentially saying that your
thoughts or opinions are not facts, you know, in finding
more adaptive, healthy ways to relate to your thoughts, you know.
Speaker 3 (11:27):
And I found that was really youthful for me.
Speaker 4 (11:30):
Actually these days I do a bit more than just CBT,
but but it really spoke.
Speaker 3 (11:34):
To me and it was usually helpful for me.
Speaker 4 (11:37):
Luckily, I've been really good since then, you know, and
actually a lot of techniques I've taken from that are
really helpful when I'm out on the road and I'm
under probably a bit more stress and I would be normally.
Speaker 2 (11:45):
Yeah, oh, that's fantastic. And Andy, we've seen you with
mister Clarkson and hopefully when you're in New Zealand you
might even have a bit of an opportunity to tour
around here. But tell us about your involvement with regenerative farming,
because yeah, I know that's an area that many of
our listeners are increasingly interested in. Is quite remarkable.
Speaker 5 (12:09):
Yeah, I mean it started on the way back from
a gig when I read an article about the environmental
consequences of food production. I haven't thought about it much
at the time, but it had a line in there
which said, if you don't like the system, don't depend
on it. So I began all this, you know, coming
in cold, never planted the seed in my life, trying
to grow some vegetables for the family, and you can
only really describe it as a spectacular sized rabbit hole.
(12:32):
That led to me selling my publishing rights to finance
a farm in France, getting a very humbling lesson in
how hard it is to be a farm and the
range of skills required, how hard it is to replace
a system that we've developed, you know, for good reason originally,
but a food production based on chemistry the suppressor's nature,
with one based on biology that collaborates with nature. But
(12:55):
also that when we do do that, you know, the
solutions to our health, bio diversity, climate crisis, they're all there.
And having seen that, it became a mission that I
couldn't let go of so now in the UK, under
the name Wildfarmed, we have a business that works with
one hundred and fifty farmers and trying to get food
from these farming systems onto the high street so that
(13:17):
everyday people can make these choices and feel empowered.
Speaker 4 (13:20):
To do so.
Speaker 2 (13:21):
Well, gentlemen, it is a real pleasure to speak. We
very much appreciate you giving us your time and cannot
wait to have you in New Zealand. Thank you so much,
Tom and Andy, Thanks lluch Jack, see you soon, Catch
you soon, catch you very soon. In fact, Groove Armata
are in New Zealand for a four date tour, so
they're going to be at Gardens Music Festival in Orkhan's
domain next weekend. They're then going to Queenstown, Christchurch and Wellington.
(13:44):
So all of the details for Groove Armada's shows are
going to be on the news Talks He'd be website
News Talks, he'db dot co dot Indeed Ford Slash Jack
is the best place to go for everything from our show.
Speaker 1 (13:56):
For more from Saturday Morning with Jack Tame, listen live
to news Talks he'd be from nine am Saturday, or
follow the podcast on iHeartRadio,
You're listening to the Saturday Morning with Jack Team podcast
from news Talks at be.
Speaker 2 (00:32):
Ah So Good. Groov ar Mada are legends of dance
and electronic music. Tom Finlay and Andy Cato make up
the duo and have been pumping out tracks for more
than a quarter of a century, now building a reputation
as one of the very best. They've captured the magic,
they've reached iconic status. They've had to cancel gigs because
(00:54):
they were scared that too many people would turn up. Yes,
that's the thing. And now they're coming back to New
Zealand to round off our summer with a bang. Tom
and Andy of groov Armada are with us this morning.
Kyoto guy, welcome to the show.
Speaker 3 (01:08):
Thank you very much.
Speaker 2 (01:09):
Tom. Maybe we can start with you. I don't want
to make either of you feel old, but I'm also
aware it. There's almost what thirty years since you guys
started playing music together. Is the rush that you get
from being on stage, whether it's djaying or as part
of a live performance, is the rush the same today
as it's always been.
Speaker 4 (01:31):
It's it's different, but like it's still there, you know,
it's still really exciting. It's like in some ways, it's
like it's quite intense because there's that sense of like,
you know, we're probably near the near the twilight of
our crib and the dawn, so you're kind of conscious
that you need to kind of, you know, really kind
of savor these moments. You know, I guess we've got
a little bit more experience and you haven't got that
(01:53):
kind of that you know, first night nerves. Stuff is
probably a little less intense to me than you used
to be. But yeah, no, it's always really exciting. It's
always sort of trying to come to a new space
and assess the vibe and try to make the right
decisions in the heat At the moment, that's still as
complicated as ever been.
Speaker 2 (02:07):
You know, am I right in thinking that you guys
have supposedly retired three times?
Speaker 5 (02:14):
I don't believe the rumors. It was to do with
the It was to do with the live shows, and
we we called it, We called it a day with
the live shows a couple of times and then made
very joyful comebacks. But the djaying has always been there
since the beginning. It's always been a kind of unchanging
backbone of the whole group of marketing experience.
Speaker 2 (02:34):
Yeah, yeah, that makes it. So what is it that
keeps you hanging on? What what keeps you in, you know,
savoring the kind of experience that you always have.
Speaker 3 (02:46):
I mean it's just you.
Speaker 4 (02:46):
Know, like it's done for It's just a really love
to be able to do for a living, you know,
like it's like we still love music, you know, where music.
Speaker 3 (02:53):
File files first and foremost and.
Speaker 4 (02:55):
So and then partly it's just that sort of I
think we grew up like as everyone did, but for
us in that kind of the weekend was such a
key part of our experience.
Speaker 3 (03:04):
You know.
Speaker 4 (03:04):
Peteng used to say welcome to the weekend on the
front and that was just like what everything was about.
Speaker 3 (03:08):
And I still feel like I live in that rhythm
a bit.
Speaker 4 (03:11):
You know, I can't quite imagine not having the odd
adventure on a weekend. So this is a great way
of doing that and getting paid for as well. So
it's perfect.
Speaker 2 (03:19):
It's amazing how much music has changed in the last
you know, in the last few decades.
Speaker 5 (03:23):
Obviously with the digital.
Speaker 2 (03:24):
Revolution, the tools that are available to artists and musicians
have massively expanded. How do you guys reflect on the
music that you were making in those early years with
the kind of tools that are accessible for artists these days, well.
Speaker 5 (03:40):
It has completely changed, as you're saying, And like all things,
there are good bits and bad bits, you know. So
the idea that you can make a sort of professionally
rendered recording without out leaving your your bedroom, or actually
without leaving your bed in a lot of instances is
kind of amazing and liberating. On the other hand, looking
back on some of the early music we made, restriction
(04:01):
on options is a very creative force, and I think
making music in the world where everything is unlimited choice
is quite challenging.
Speaker 4 (04:10):
You know.
Speaker 5 (04:11):
I watched my son do it and we wrestled with
it a little bit now as well, though we haven't
quite got all the plugins that he has. But yeah,
it's not always more, is not always better.
Speaker 2 (04:21):
Can you explain that to me? Explain the restrictions sometimes
being a creatively beneficial thing.
Speaker 5 (04:28):
Well, like you take out the river for example, defining
tune for us. So that happened because we'd gone off
to the middle of nowhere to get some piece and
quiet to write a few tunes to promote some London parties,
and we went down the shop to buy some beers
and potato waffles, which was our kind of daily ration.
And on the counter was a CD that was Sounds
(04:49):
of the fifties Americana, and we threw that in the
heap on the on the sort of off chance there
might be some samples on there. And it had this
song by Patty Page called old cape cod really lovely tune,
really nice. Cause I had my trombone with me because
I was still making a living at the time from
playing jazz gigs. I need practice, so we copied the chords.
I was perhapicing the trombone, thought, oh, you know, that
(05:11):
sounds quite nice. How can we remember that we had
no microphone, but there were some speakers in the cottage,
and if you flip the wires on a speaker, it
becomes a microphone, So we take those two. A guitar
lead managed to record the trombone and then on the asample.
At the time, there's no computers at that point, so
you have a tiny amount of memories. You can only
only use little snippets of the vocal, so you've got
(05:32):
cello tate microphone snippets of vocal two string noises to
choose from. On the synthesizer on one bass sound. The
whole thing's done in forty five minutes, and so I
think it means that you focus on the idea rather
than the sounds, rather than getting obsessed with the sounds
when you haven't got a great ideas the It's the
classic Keith Jarrett Coln concert dichotomy. I'm not sure if
(05:53):
you guys are familiar with that story, but Keith Jarrett
playing improvisational jairs on a piano, played preps his greatest
eve A gig on a piano that wasn't tuned properly,
and the top keys and the low keys had to
be absolutely smashed to get any noise out of it.
And consequently, by having to think outside the square, it
kind of sparked creativity that might not have otherwise been sparked,
(06:16):
which is amazing. Yeah, that is quite remarkable that the
human creativity can work in that way. Do you think
that that electronic music and that dance music is particularly
susceptible to AI and the changes that that technology is
going to mean for our societies.
Speaker 4 (06:38):
I think to some extent it might be, But I
also think that sort of you know, great dance music,
like any form of music will always out, you know,
the stuff that really deserves to be that sounds distinct
and brilliant, Like, you know, AI is not going to.
Speaker 3 (06:51):
Keep to half punk.
Speaker 4 (06:51):
You know that AO is probably not going to create
ology either, like these kind of really unusual collisions of sound.
Speaker 3 (06:57):
I still think that would be fine.
Speaker 4 (06:58):
But yeah, there probably is a kind of dirge of
wish wash kind of you know, cocktail lounges dance music
at one nineteen beats a minute that AI is going
to knock out pretty successfully. But now that's going to
change the world.
Speaker 2 (07:10):
Yeah, there's like a frision or a magic that maybe
still comes from the human element. Well, it's the types
at the very least you're listening to news talks. He'd
the Jack Taim speaking with Tom and Andy who make
up Groove a Mada ahead of the March shows. How
important are collaborations for you guys from a creative perspective
(07:32):
in particular, How has that helped to maintain the magic
that you get from creating music.
Speaker 5 (07:40):
I think it's been been critical. You know, I'm in
the and just an amazing privilege to spend time you know,
in studios, sometimes tour buses, on stage of people like
Candy Staton, Richie Richie Haven's, Nana Cherry and a whole
host of other people. And you know, there's just something
about that. It's just such an exciting moment when you're
(08:01):
making music and you and you come up with with
with a lovely kind of pad, and then you setting
that off to someone, or you work with someone in
the studio and guide them a little bit, and you
and you get a load of vocal ideas and in
amongst it all, I think what we've always been quite
good at is having the antennae to say that bit there,
(08:21):
and that moment where you hear the bit in the
vocal with those particular chord changes, and it's just the
hairs go up on the back of your neck and
you build it all around that. You know, that's that's
a magical thing. So getting that input from people of
that caliber to work with has been amazing.
Speaker 2 (08:36):
Is it just a case of trusting your gap?
Speaker 5 (08:41):
What else is there?
Speaker 4 (08:42):
Really?
Speaker 5 (08:42):
I mean, it's like either you feel it or you
don't feel it. I think one of the lovely things
about Tom and I work it together so long is
that it will be completely unspoken. And we're working on
a tune and it's gone a bit too far my
way or Tom's way, and we won't even have to
say it directly, but there'll be a mainly unspoken exchange
(09:05):
that goes on there till eventually it ends up in
the groove Armada lane. It's a pretty wide lane, but
it's also it's a very distinctive blend of where both
of us are happy.
Speaker 2 (09:15):
How do you distinguish between each of those respective ways
your weigh and Tom's way?
Speaker 5 (09:21):
These are things that you just can't really put into words,
you know, But but you know, whenever we go into
these situations, like I am already knowing what Tom's feeling
about it, and the same will be true the other
way around. And it's these unspoken trade offs, I think,
which mean that despite having wildly eclectic styles across the albums,
(09:43):
there's something about it all which says groog mad.
Speaker 2 (09:46):
Tom, you're trying to be a CBT therapist, right to
tell us about that?
Speaker 3 (09:50):
Well, yeah, I'm doing.
Speaker 4 (09:51):
I'm practicing as a CBT therapist now. So well, I'm
more of a counselor now. But I work at a
university in London called King's College, London, so I do that, Yeah,
three days a week and it works really well. Actually,
it's like I just came back from work today and
it was really lovely day. Actually I worked with students
and had some really interesting conversations and then but they're
(10:14):
really supportive of me, and you know, like when I
tell them I'm going off to Australian New Zealand to
do some dates, they're always really behind it.
Speaker 3 (10:20):
So it's that perfect.
Speaker 4 (10:21):
But it's been been a really lovely thing to do,
and I particularly love this population now, Like I worked
originally in the NHS, you know, the National Health Service,
which was which was was good, but I started doing
time then during the pandemic, so it was kind of
pretty stressful for lots of different reasons. But now I'm
sort of you know, working with students, a really interesting
group of people.
Speaker 3 (10:40):
And no one't got any clue what I do for
a side hustle. It's really nice.
Speaker 2 (10:45):
Yeah. What was the attraction about about CBT therapy in particular,
because it seems, I mean, it seems like a fascinating
thing to be involved with.
Speaker 4 (10:55):
Yeah, I mean there's there's you know, like I think
I struggled with my mental health. I was quite depressed
about fifteen years ago, and I think at that time
there wasn't the kind of conversations going on about about
mental health, particularly in the music industry.
Speaker 3 (11:09):
There are now, and.
Speaker 4 (11:09):
I really think they're great, and people are much more
open about talking about that.
Speaker 3 (11:14):
So I am just personally CBT was quite effective for me.
Speaker 4 (11:17):
You know. It's about kind of essentially saying that your
thoughts or opinions are not facts, you know, in finding
more adaptive, healthy ways to relate to your thoughts, you know.
Speaker 3 (11:27):
And I found that was really youthful for me.
Speaker 4 (11:30):
Actually these days I do a bit more than just CBT,
but but it really spoke.
Speaker 3 (11:34):
To me and it was usually helpful for me.
Speaker 4 (11:37):
Luckily, I've been really good since then, you know, and
actually a lot of techniques I've taken from that are
really helpful when I'm out on the road and I'm
under probably a bit more stress and I would be normally.
Speaker 2 (11:45):
Yeah, oh, that's fantastic. And Andy, we've seen you with
mister Clarkson and hopefully when you're in New Zealand you
might even have a bit of an opportunity to tour
around here. But tell us about your involvement with regenerative farming,
because yeah, I know that's an area that many of
our listeners are increasingly interested in. Is quite remarkable.
Speaker 5 (12:09):
Yeah, I mean it started on the way back from
a gig when I read an article about the environmental
consequences of food production. I haven't thought about it much
at the time, but it had a line in there
which said, if you don't like the system, don't depend
on it. So I began all this, you know, coming
in cold, never planted the seed in my life, trying
to grow some vegetables for the family, and you can
only really describe it as a spectacular sized rabbit hole.
(12:32):
That led to me selling my publishing rights to finance
a farm in France, getting a very humbling lesson in
how hard it is to be a farm and the
range of skills required, how hard it is to replace
a system that we've developed, you know, for good reason originally,
but a food production based on chemistry the suppressor's nature,
with one based on biology that collaborates with nature. But
(12:55):
also that when we do do that, you know, the
solutions to our health, bio diversity, climate crisis, they're all there.
And having seen that, it became a mission that I
couldn't let go of so now in the UK, under
the name Wildfarmed, we have a business that works with
one hundred and fifty farmers and trying to get food
from these farming systems onto the high street so that
(13:17):
everyday people can make these choices and feel empowered.
Speaker 4 (13:20):
To do so.
Speaker 2 (13:21):
Well, gentlemen, it is a real pleasure to speak. We
very much appreciate you giving us your time and cannot
wait to have you in New Zealand. Thank you so much,
Tom and Andy, Thanks lluch Jack, see you soon, Catch
you soon, catch you very soon. In fact, Groove Armata
are in New Zealand for a four date tour, so
they're going to be at Gardens Music Festival in Orkhan's
domain next weekend. They're then going to Queenstown, Christchurch and Wellington.
(13:44):
So all of the details for Groove Armada's shows are
going to be on the news Talks He'd be website
News Talks, he'db dot co dot Indeed Ford Slash Jack
is the best place to go for everything from our show.
Speaker 1 (13:56):
For more from Saturday Morning with Jack Tame, listen live
to news Talks he'd be from nine am Saturday, or
follow the podcast on iHeartRadio,
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