Robert Diamant

I think standing in front of a painting without text, without being told something prescriptive, is what it's all about.

We need to get back to that more.

I saw that.

I saw that.

You did it really early on in the song, like first chorus.

Actually, one of the first things I thought when Tom Partridge sent me your video was that you were like this kind of one woman Spice Girls.

I felt like you were all five Spice Girls in one, like the energy coming from you in that video.

I was like, girl power is definitely back.

But obviously you're not pop though.

I think you are like a kind of mix of pop and like you're talking about Freddie Mercury or Elton John or even Madonna, like this whole kind of like artistry.

That's really what I saw.

You know, I went to see Tracey Emin's retrospective at Tate the other day.

I've seen it a few times now.

And one of the things I loved about that exhibition was that there's hardly any wall text in the whole show.

And what they've done is they've put tiny little titles.

But apart from that, there's nothing telling you anything, really.

What I thought was so interesting about that, not having the texts, is that it allows the work to speak.

And her work has her speaking in videos, it has her writing in texts.

I'm not even talking about the neons, but all of her blankets and applique work have all these hundreds of letters all over them.

It's actually a bit like what you're talking about when you're trying to get everyone to do the Hey Jude hand thing together, uniting people.