Taylor Swift is the celebrity endorsement of Kamala Harris‘ wildest dreams.

In a WIRED video posted 10 days after the pop star broke her silence on the 2024 presidential election, emphatically backing the Democratic politician’s campaign against Donald Trump, Harris reacted to Swift’s endorsement. “I am very proud to have the support of Taylor Swift,” she said in the autocomplete interview.

“She’s an incredible artist,” the VP continued. “I really respect the courage that she has had in her career to stand up for what she believes is right.”

There is, however, one cause on which Harris says she disagrees with the 14-time Grammy winner. “We were on different sides of the Super Bowl last year,” she said with a smile, referring to Swift’s support of boyfriend Travis Kelce’s team, the Kansas City Chiefs, who won against Harris’ home team, the San Francisco 49ers, in February. “But who’s mad at anyone for being loyal to their team?”

Swift is one of many musicians who has given Harris their seal of approval this election, with Ariana Grande, Billie Eilish, Cardi B, Megan Thee Stallion and more speaking out in support of the Democratic ticket over the past few months. The “Anti-Hero” singer’s endorsement, however, has objectively been the most talked about, with her Sept. 10 post calling the former prosecutor a “steady-handed, gifted leader” earning praise from Hillary Clinton, Stevie Nicks, George Clooney and more while sparking backlash from conservatives such as Trump’s running mate JD Vance, Megyn Kelly and Lil Pump.

Trump himself weighed in shortly after Swift said her piece, telling Fox & Friends that the singer would “probably pay a price for it in the marketplace.” Later, he posted on Truth Social, “I HATE TAYLOR SWIFT.”

Watch Harris react to Swift’s endorsement above.

Welcome to a teeming edition of Executive Turntable, Billboard’s comprehensive(ish) compendium of promotions, hirings, exits and firings — and all things in between — across music. And what a depressing late-week it’s been, with Warner Music making deep cuts across its Atlantic Music Group that sources say will affect between 150-175 people. If you need a palette cleanser, read on for mostly good news but also check out Billboard’s weekly interview series spotlighting a single executive, our helpful calendar of notable events across the biz, and a regularly updated gallery honoring many of the industry figures we’ve lost throughout the year.

Believe appointed industry veteran Henri Jamet to lead its France operations as managing director, reinforcing its leadership team in its all-important home market. With over 20 years of experience, including the last decade at Believe, Henri has played a key role in the company’s artistic wins. He replaces Romain Vivien, who is now president of Europe and global head of music, and will report directly to him. This move aligns with Believe’s focus on A&R and artist development to boost market share across the 50 countries it now operates in. Henri’s career began at Universal Music and NRJ, followed by Wagram, where he became a marketing manager. In 2013, he joined Believe, leading labels such as AllPoints, naïve, and launching Animal63. Under his leadership, AllPoints became a leader in French rap — its artists dominated last year with 47 of the top 200 albums — while naïve emerged as a major pop label. “Henri is as close as possible to the ground, he is respected in the industry, he has a creative vision and knows the company culture,” said Believe founder and CEO Denis Ladegaillerie. “He is the ideal candidate to succeed Romain, one of the Group’s best ambassadors and a great example of career development with us.”

Maximilian Paproth is coming back to Budde Music, where he worked for a decade earlier in his career, as global president A&R. In that role, Paproth will manage the company’s German operations, as well as its international A&R, starting in January 2025. He will report directly to company owner and CEO Benjamin Budde, who has been building the family-owned publishing company into an increasingly global operation that is active in the agency and concert promotion businesses, as well as its publishing business. Paproth worked at Budde in various roles from 2003 to 2023, then worked for Sony Music Publishing and then Universal Music, where he is currently vp of A&R for central Europe & international marketing Germany. “Max is now supporting our efforts to be the best partners for authors and artists at the perfect time,” Benjamin Budde said in a statement. Budde Music includes the Budde Talent Agency and the management company BuddeMgmt, as well as publishing and some recording operations. –Robert Levine

Downtown Music promoted Gareth Mellor to senior vp of global marketing & communications. Based in the UK, Mellor will lead M&C efforts across Downtown’s four divisions: publishing, distribution, artist & label services and royalties & financial services, which serve over 5,000 clients and 4 million creators in 145 countries. A Downtowner since mid-2021, Mellor was previously vp of global marketing and communications and earlier served as global head of B2B marketing for its distribution tech company FUGA. He has also held senior roles at TuneCore, AWAL and Kobalt. He reports to CEO Pieter van Rijn and chief commercial officer David Driessen, who commended Mellor’s global marketing expertise and contributions to FUGA, expressing confidence in his ability to strengthen Downtown’s brand globally. “With a strong understanding of global marketing, he has continued to deliver exceptional results-driven work at Downtown and I look forward to working alongside him in his new role as he continues to elevate and position Downtown’s brand in the global marketplace,” said the recently promoted Driessen.

Back to Believe, which is also reinforcing its commitment to Mexican music with two leadership appointments. Marco Cataño — who has a 25-year career and has worked at Sony Music and Warner Music — is named head of artist services LATAM, overseeing the Paris-based company’s premium offerings. As head of label & artist solutions México, José Pablo Molina’s division will offer solutions to independent artists and labels through the marketing and content distribution platform. Molina has 10 years of experience, previously working at ROC Nation and OCESA. “Both Marco and José Pablo have an outstanding track record in the music industry,” said Alejandra Olea, Believe America’s managing director. “Their experience allows them to identify areas of opportunity in the market to strengthen and develop Spanish-speaking talent. Their ability to attract and grow artists in a lasting way aligns with Believe’s priorities for Mexico and Latin America.” –Jessica Roiz

Merlin, the digital licensing partner for the indie music sector, welcomed back Kaoruko Hill as the music rights organization’s general manager of Asia-Pacific. Kaoruko’s career spans over a decade, including her most recent role at ByteDance, where she managed global music rights. From 2016 to 2020, she was instrumental in Merlin’s successful entry into the Japanese market, increasing membership and building strong partnerships as head of member relations and operations. She previously worked at Japan’s music copyright collective NexTone Inc., focusing on new media licensing and global partnerships. Merlin’s CEO, Jeremy Sirota, praised Kaoruko’s strategic vision and said her “deep commitment to the music industry make her the ideal leader to drive our efforts in the Asia-Pacific market forward.”

Hipgnosis Song Management named Sara Lord as its new chief creative officer, tasked with managing synch, audience development and leading Hipgnosis’ overall strategy and creative industry collaborations for its portfolio of some 40,000 iconic songs.  A veteran of Concord Music, where Lord built an international team and launched the Concord art prize, Lord joined Hipgnosis in 2023 as executive vp of content. Lord will work alongside Katovsky under the new Blackstone ownership. “Sara has an outstanding track record and incredible knowledge of the creative industries,” Hipgnosis CEO Ben Katovsky said in a statement. “Hipgnosis owns many of the world’s most iconic songs and, as we seek to bring them to even wider audiences, building partnerships across these creative industries is a key part of our strategy. Sara is uniquely qualified to build these partnerships, while working closely with our songwriters and artists.” –Elizabeth Dilts Marshall

Sony Music Publishing promoted Antoine Dathanat to managing director of France, starting Oct. 1. He will succeed the SMP’s longtime French MD Nicolas Galibert, who is retiring at the end of the month. As MD of SMP France, Dathanat will be responsible for overseeing creative and business operations across France and supporting SMP songwriters around the globe. He will continue to be based out of Paris and will report directly to Sony Music Publishing president of international Guy Henderson. –Kristin Robinson

PUB FARE: Third Side Music has expanded into the UK and Europe by appointing Stephen Christian as executive vp of creative/A&R: International. Based in London, Christian will report to TSM’s COO, Jeff Waye, and work with LA-based Creative/A&R heads Brontë Jane and Alex Kelman to sign new talent and foster global opportunities for artists like SOFI TUKKER and Sky Ferreira. Christian is the former creative director and head of A&R at Warp Records, where he was instrumental in signing and developing acts like Danny Brown, Mount Kimbie and Kelela … peermusic appointed Samantha Schilling Robinson as vice president of peermusic Neighboring Rights. Schilling Robinson was previously vp of neighbouring rights at Songtradr, Inc. Schilling Robinson will be based in peermusic’s offices in Los Angeles.

Music funding platform beatBread appointed Andrew Maddox as head of finance to support its growth. Maddox previously held finance leadership roles at TikTok, including head of finance and payment services for US Data Security, and he’s the former chief of staff to TikTok’s COO. He also led finance for content, marketing, product, and operations. Prior to TikTok, Maddox worked at Amazon Prime Video, contributing to its expansion into live sports and international markets. beatBread CEO Peter Sinclair praised Maddox’s finance and strategic marketing skills, highlighting their importance as the company uses data science and automation to empower artists, labels, and publishers with flexible funding options. Maddox expressed excitement about joining beatBread, emphasizing “beatBread is at the forefront of enabling artists to pursue their passions without sacrificing control over their careers. The flexibility and choice the company is bringing to music funding is a true game-changer for independent artists and labels. I couldn’t be more excited to join the beatBread team.”

Music licensing platform Soundstripe named Angela Abbott as global head of music partnerships, overseeing strategic relationships for content creators, enterprises, and rights holders. With over a decade of experience in business development and strategic partnerships, Abbott brings expertise from her roles at TIDAL and Pandora, where she secured over $200 million in licensing deals with the big three major labels, among others. Abbott also stays involved with the Recording Academy and Women in Music, where she serves as global co-chair of partnerships & development. “We founded Soundstripe to address a critical gap in the music licensing space for content creators, but our vision extends far beyond that,” said Travis Terrell, Soundstripe’s co-founder and CEO. “With Angela’s proven track record and expertise in negotiating complex licensing deals with the world’s leading music companies, we are excited to accelerate our trajectory and provide top-tier music solutions for both creators and global brands.”

Andrew Leib, after 11 years at Red Light Management, launched Deep Feel Talent Co., a boutique artist management company. The firm’s inaugural roster includes Victoria Canal, Maris Jones, Nu Deco Ensemble, Andy Arthur Smith and Dana Nielsen. Deep Feel said it will emphasize creating long-term relationships with artists and aims to create a supportive community for musicians, content creators and producers. Leib began his career in artist relations at festivals like Lollapalooza and Riot Fest, co-created the immersive concert experience Brassroots District, and co-founded The UnCancelled Music Festival, raising over $100K for artists and venues during the pandemic. He also booked talent for the Miles Davis Estate showcase at SXSW. Leib says Deep Feel reflects his values of “building strong, authentic relationships with my clients and community, and creating space for creative voices to grow.”

Breakaway Music Festival, the annual multi-city event featuring a healthy dose of dance music, hired former Sony vp of corporate development Adam Wright as CFO and managing partner. In his new role, Wright will lead strategic initiatives, corporate development, brand growth and financial operations for Breakaway. The festival also elevated Jarrod Fucci from GM to festival president. This year’s BMF tour has three more dates left: Sept. 27-28 in Charlotte, Oct. 11-12 in Nashville and Oct. 25-26 in San Francisco.

Nettwerk made two significant hires to bolster its UK label team. Katie Graham has been appointed head of catalogue marketing and developments globally, moving from Warner Music Group, where she directed marketing strategies for renowned artists like Phil Collins, Enya, Ed Sheeran and Dua Lipa. She aims to enhance Nettwerk’s extensive catalogue with innovative strategies for both established and emerging talents. Additionally, Ruth Wyatt joins as director of sync for UK and Europe, bringing her experience from Warner Music UK, where she successfully placed artists in various sync opportunities. Her notable achievements include Sam Ryder’s “Christmas To Me.” Both hires were welcomed by Nettwerk co-founder Mark Jowett, who commended their expertise in catalogue development and sync, highlighting their commitment to supporting artists.

Spotify‘s head of podcast business, Sahar Elhabashi, is leaving the company at the end of 2024. Roman Wasenmüller, who currently oversees international podcast operations, will lead the division during the search for Elhabashi’s successor. Elhabashi’s six-year tenure included a strategic shift from exclusive creator deals to broader distribution, enhancing audience reach and ad sales. She joined Spotify in December 2018 as vp of content and took over the podcast division after Dawn Ostroff left in January 2023. Prior to Spotify, Elhabashi held c-suite level roles at Conde Nast and Discovery Communications, while earlier in her career she spent 15 years in senior leadership at MTV Networks.

The Circuit Group, a management collective empowering artists to have greater creative control over their IP, announced its expansion into the UK with the launch of Circuit Management, a joint venture with CTRLFRK. The initiative will be led by TCG chief strategy officer James Sutcliffe, who has been appointed CEO and president of The Circuit Group UK. Sutcliffe, an industry veteran with leadership experience at Ministry of Sound, LIVENow, PIXELYNX, and Monster Energy, will work under global CEO Dean Wilson. “Circuit Management is the culmination of our vision to create an environment where artists can truly succeed,” said Michael Boyce, founder of CTRLFRK and co-president of Circuit Management. “Partnering with Circuit enables us to offer a comprehensive approach to management, focusing on both artistic integrity and commercial success. We’re ready to make a lasting impact on the UK music landscape.”

ATC Group has launched Circa, a music promotions company led by Matt Black, former managing director of Your Army’s U.S. office. Circa, with offices in Los Angeles, New York, and London, will take over operations from Your Army America, offering integrated marketing and promotional campaigns globally. The London office will be led by Charlie Reid, who joins as general manager, following experience leading UK radio campaigns for artists like London Grammar, Jon Batiste, Marlon Hoffstadt and Jade Bird. In the U.S., Black’s team has managed campaigns for labels such as Atlantic, Warner, and RCA, achieving top chart placements for artists like RÜFÜS DU SOL and The Hives. Circa will continue campaigns for high-profile artists including Justice, Disclosure, SOFI TUKKER, and deadmau5. It operates within ATC Group’s Services division, alongside Familiar Music Group, companyX, Simpatico, [namethemachine] and Sandbag. “As a key component of ATC’s full service offering across our network of Group businesses, Circa will enable us to deliver an ever more integrated strategy to assist artists in achieving their creative and commercial goals,” said Adam Driscoll, CEO of ATC Group.

BOARD SHORTS: Marit Berning, Paul Smernicki, Shaurav D’Silva, and Tania Lee have been newly elected to the Music Managers Forum board, with Sandy Dworniak re-elected. Paul Craig and Kwame Kwaten have stepped down as chair and vice-chair, with successors to be announced in early October. The MMF aims to enhance its partnership with Music Minds Matter to provide more mental health support for managers. Additionally, the MMF will host a retreat for advanced managers in January 2025.

RoEx, a startup in intelligent audio production, partnered with UnitedMasters to offer AI-powered mastering services via UnitedMasters’ web platform and iOS app. To support its growth, RoEx appointed Tom Nield as head of partnerships, leveraging his 15-plus years of experience in music and technology, including roles at [PIAS] and startups like LANDR. In his new role, Nield will focus on expanding RoEx’s partnerships with music distribution companies and creator platforms. The partnership aims to enhance audio quality services and provide educational content through UnitedMasters’ Blueprint tool. Additionally, UnitedMasters and RoEx are launching an in-app challenge, awarding 50 artists with free mastering credits worth up to $150 each.

ASM Global elevated Gemma Vaughan to acting general manager of AO Arena in Manchester, effective immediately. Gemma, who joined ASM Global in 2023 as sales and marketing director, brings 14 years of experience in the live entertainment industry, having worked with Live Nation Entertainment, Cuffe & Taylor, and Escape to Freight Island. Throughout her career, she has collaborated with artists like Faithless, Mariah Carey, and Britney Spears, gaining a deep understanding of the industry. Vaughan’s predecessor as GM, Jen Mitchell, has left the company.

ICYMI:

The painful cuts this week at Atlantic Music Group have impacted between 150 and 175 people, according to sources, including key execs at Elektra (Chris Brown, Katie Robinson, Adam Abramson) and Atlantic (Michael Kyser, Paul Sinclair, Grace James). Follow developments here … Earlier this week, 300 Entertainment CEO Kevin Liles telegraphed his exit … Warner Music Japan chief Kaz Kobayashi announced his departure … TelevisaUnivision named a new CEO … and Sony Music Nashville chairman and CEO Randy Goodman is retiring.

Last Week’s Turntable: The MLC-Suite Gets an Upgrade

In London, New York and Los Angeles this past spring and summer, Jamie xx played 20 shows in a club of his own making, The Floor. Happening in warehouse spaces in each city, the nights featured a rotating cast of friends and fellow producers playing on lineups that each also included the U.K. producer, altogether bringing to life the nightclub of his dreams he’d long envisioned. The shows went late, with Jamie typically playing well after midnight, even in the middle of the week. Every show sold out.

After it was all wrapped, the producer then traveled to the woods Norway, where he posted up on a mountain four hours from the closest city. He had no phone signal, and every night for dinner, he ate the fish he’d caught earlier that day.

It’s the type of urban/rural balance the London-born artist has carved out over the last nine years, since the release of his last album, In Colour. Jamie’s second studio album, the project reached No. 21 on the Billboard 200, becoming an essential of the era. Making it after a period of heavy touring with his band, The xx, when he was longing for home, he calls the project “sort of my fantasy version of U.K. dance music history.”

Nine years later, the producer, now 35, is more focused on the present. Now living between his homes in London and Los Angeles, he’s today (Sept. 20) released In Colour‘s long-awaited followup, In Waves. Out on his own label, Young, he calls the project “a lot more current and about now,” with the 12-track project toggling between dreamy, cerebral IDM and equally smart but also joyful, extremely danceable tracks like the previously released singles “Baddy on the Floor” and “Life,” which features vocals from Robyn. The album also features his bandmates from The xx, Romy Madley Croft and Oliver Sim, with whom Jamie has recently been in the studio with.

Speaking to Billboard from London the week before the release of In Waves, the artist, born James Thomas Smith, is days away from going on tour behind the album, with the run including standalone shows in Europe, the U.S., Brazil and beyond, along with festival sets at San Francisco’s Portola, Las Vegas’ A Big Beautiful Block Party, FORM Arcosanti in Arizona and Miami’s III Points.

However, release day will be the last time he’ll listen to the album he’s spent the last nine years making in its album form. Here, he explains why.

In Colour is obviously considered a masterpiece of the era. Did you feel pressure in making its follow up?

Yes, there was a period of time after I finished touring for I See You, the third xx album, there was a period of time where I was so sure that I was going to come home off tour, and I had this whole plan of what I was going to do to make my second solo record. I did exactly what I thought I should do, then the music just didn’t turn out to be — I think basically I had too much of a plan, and it was rigid. It seems to take me just having fun and not really thinking about the end game to be able to make music.

Did you ultimately use any of the music you were making in that more rigid plan?

No. I mean, it exists, but I don’t think it’s worth hearing. When I really started getting into the album, the pressure of In Colour seemed to disappear, and I was just enjoying making it. The only thing I was aware of was trying to be as un-nostalgic as I could be. I mean, I’m quite nostalgic in nature, but I wanted this album to feel a lot more current and about now, or maybe about the future, rather than looking to the past.

Going from In Colour to In Waves, it sounds like you’re in the same narrative. Does that feel fair? And if so, where are you now that you weren’t in 2015 and how has the story progressed?

Well, when I was making Colour, I was on tour, and had been for seven or eight years nonstop. I was really homesick, and I was dreaming up ideas about the U.K. and music in the U.K. and the dance scene there and everything that has happened since the ’80s in dance music in the U.K., which is a lot. It was sort of my fantasy version of U.K. dance music history. Because I was missing home, it made me feel more like I was at home, I guess.

This time, I bought a place in L.A., I live between London and L.A., and I’ve really grown into being transient, and I enjoy being all over the place. I feel very lucky that I get to do that and explore the different scenes. I don’t really miss home so much anymore. So this one is more about just enjoying where I’m at currently.

How have you made being transient more palatable and sustainable for you?

I think it’s more of a change in mindset than anything else. I also feel like maybe London has changed, that the scene was so vibrant when I was a teenager to like 25 [years old] in London and dance music was kind of London/U.K. centric, so it was all coming from where I grew up. I didn’t want to miss out on any of that. Whereas now, scenes that pop up are so global instantly because of how music is shared and how everybody is everywhere at once on social media and the internet, that it doesn’t feel like I need to be in one particular place.

That said, are there cities that feel particularly exciting or fresh to you right now?

It’s a good question. There are places that are always amazing and always have been like Berlin. L.A. played a big part in making me a happier, calmer person in my brain. I spent some of the pandemic there when we were allowed to fly. But L.A. was still in lockdown, so nothing was open, and I was just going surfing every day, then coming back to the house and making music. It’s some of the best memories in my life. I still try to get back to that headspace, then I eventually bought a house in L.A. because of how much I enjoyed it. It’s a very different way of life to London, and it’s been very helpful.

L.A. can be so hectic and so dense, but it sounds like you found a certain amount of serenity here.

Yeah, definitely. It can definitely be hectic, but I love that you can just escape up into the hills or to the beach, and suddenly you’re in wild nature.

It sounds like having fun and enjoying yourself was a driving force in the creation process of this album, which is very fun and danceable and celebratory, and also thematically deep. I’m thinking about tracks like “Breather” and like some of Robyn’s lyrics. On that side of it, what experiences and ideas were you drawing from?

I’ve been very reflective since I turned 30, which I think happens, has happened, to a lot of our generation. With that comes a lot more peace of mind, but also it gets really exhausting and boring, and you also want to be able to have fun in a more sustainable way. It was about finding balance between all those things. I guess with some of the spoken word and the themes on the album, it was both poking fun at that and also wanting it to be meaningful, depending on your mindset when you’re listening to it.

Where is it poking fun?

For example, the vocal on “Breather” was taken from me doing a YouTube yoga tutorial every day during lockdown. The woman who spoke on my yoga video is the person I ended up sampling like that, to either refer to your state of mind, and or taking drugs on a dance floor.

Obviously you’ve been very active in the nine years since In Colour, and also the dance world moves so quickly. I wonder if you ever felt like things were passing you by and thought about how you were going to reinsert yourself when it was time. Was there any doubt in that way?

Yeah. I mean, I still feel like that now. But at least I remind myself that I can get to places where I don’t feel like that. I just went to Norway on holiday for a week, like four hours out of a city, up a mountain to this lake where there was no roads and no phone signal. I had the best time ever. I had to fish for my dinner every night. It was a very unique experience. I kind of got back to that mindset that I’ve been so searching for over these years, of just calmness, really. Just knowing that that’s there is super helpful.

It sounds like nature is a big piece of it for you, in re-centering yourself.

Yeah, it has become that. I never expected that because I grew up in the city, and I always said that I would never want to live in a countryside. I was never really bothered by it, but I think things have changed.

It’s an interesting contrast to a crowded dance floor, which is typically a very metropolitan concept. Coming out of The Floor in London, New York and Los Angeles, did those runs turn out how you envisioned? And what did you take from the experiences?

It all turned out way better than I envisioned. But, I mean, I was quite naive going into The Floor nights, because for so long I dreamed of being able to build my own club, that I never even thought about what it would be like to have to play at my own club every night, which was amazing, but it was exhausting.

But every time I got back into the room, it was so invigorating and just filled me with energy, and then I was ready to go every night. I got to hear people I loved playing, people who I’d never heard playing. Every night was different and inspiring. It was a beautiful thing. I just need to pace myself, because I’m not that young anymore.

When I saw the set times, I wondered how you were sustaining it. It sounds like it was maybe not that sustainable, but you got the adrenaline rush of being there.

Yeah, exactly. I miss it, already. And I probably miss that adrenaline rush too, but I hope that I’ll do some more.

Do you have to prepare differently playing The Floor versus a large venue or big festival?

Yeah, definitely. The joy of playing one of the small ones is that you have to improvise as much as possible, because you’re so connected with the audience — it’s a back and forth between the people that you’re staring into the faces of. At festivals, there’s a certain element of improvisation for me, and I enjoy that, but I have to play my songs, and enough of them that people don’t get pissed off.

Tell me about like, one peak bliss moment for you in that run of The Floor.

François K in New York. I mean, I don’t like to use the word life-changing, but it was up there. I’ve met him a few times and played with him in New York at his club nights, and he’s always been great and very insightful. This time, I got to hang out with him for an hour before he played and talk about the history of dance in New York and how he’s seen the different waves of dance music over the many years he’s been playing. That was great. Then he went and played one of the best sets I’ve ever seen in my life, and it unified everybody in the room in a way that only happens very occasionally, even though I go to a lot of shows.

Did you learn anything about In Waves in terms of what parts of it really worked, while you were playing it out at The Floor?

I got to play it in full to all my friends in the London club before one of the club nights started. That was a really lovely thing. It felt like a momentous occasion, at the end of making the album. Then during the all The Floors, all the songs that hadn’t come out yet, people seemed to recognize it was me, which was really nice considering this album is quite different to the last one.

What do you think are your signatures? What are people recognizing that they know is you?

I have no idea, but I guess I would assume that people know my music better than me, because after I’ve finished it, I really don’t listen to it unless I have to.

So you haven’t been listening to In Waves outside of playing it out?

No. I haven’t listened to it since the day I approved the master, but I will listen to it the day it comes out.

Why do you think that is?

I find it kind of excruciating.

Oh, why?

Well, I’ve listened to it a million times in every detail, but also it feels like reading a diary or something from the past, even if it’s not that long ago, like this album. I just find it quite difficult — and that’s why, when I’m playing my songs from In Colour, I try and rework them, to keep it interesting for me and give them new life.

When is the last time you listened to In Colour in full?

I think six or seven years ago, when I was really struggling with what to do about not being able to make another album. I went with my mate to somewhere in Italy, and we did a road trip and listened to every album I’ve ever made, which sounds like torture to me. It kind of was, and I’m very grateful to my friend for sitting through all of that. It was really helpful, and that’s the last time I listened to it.

Can you share any details about that experience, of what was going through your mind when you were driving around Italy listening to your album and not necessarily enjoying the experience?

I remember being really surprised by a lot of decisions I had made as a younger person, and remembering who the hell I was when I made those decisions.

Who were you?

I don’t know. I guess I was drunk quite a lot of the time [laughs], having a lot of fun in my mid-20s. It’s very painstaking, all these decisions you feel are so important. Then listening to them 10 years later or five years later, you can’t believe you made any of the decisions. And you think they’re wrong, or I would have made completely different decisions now, but I guess that’s a part of it.

I guess nothing is ever done. There just comes a time when you have to turn it in.

That is true.

Was there a sense of relief when you turned in In Waves?

Yeah, massive relief. The album was actually meant to come out in June this year, and I had the test pressing made, then it just didn’t sound good enough. That’s why it’s coming out in September. But because of that, it meant that I got to finish the song with Robyn, and I think it made the album better. So there have been several moments where it was almost finished, but it’s been a slow burn.

If it had come out in June, it would have been eligible for a Grammy this year. Was there a thought of getting it out in time to be nominated, or was that not a thing?

No, that was not a thing.

With the album complete, what else, if anything, are you working on? Or is it more about preparing for the live shows?

I’ve been in the studio with the band a little bit. We’ve mostly been talking, not making music. Those [sessions] have been really nice. I’m actually focusing on spending the last two days in my house before I leave it for a year and a half and enjoying London for the last little bit, then really getting stuck into all the live shows.

So you’re going to be on the road for a year and a half, more or less?

If things go well, yes.

How do you mean if things go well?

I mean, I hope I get to tour this a lot, because it’s kind of the only way I connect with the album after it’s done. I’m not looking at reviews, and I’m not on socials or anything like that.

Well, maybe you just answered it — but tell me, what does success for the album look like to you?

Basically, I get a few nice texts from people whose option I appreciate, and I get to keep doing all of this.