Made In Ely - Episode 19 - Alex White WeThreeClub

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Welcome to Made in Ely, where we talk to local businesses about
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what they're doing and how they're doing it, recorded here at Ely Work Collective.
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Today's guest is Alex White from We3 Club. How you doing? Hi,
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all good. You all right? Yes, very good. Thank you. Thank you for coming
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in. Um, so yeah, let's get the ball rolling. Kind of tell us about yourself.
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Who is Alex and, uh, what do you do? Okay,
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well, I am Alex White and I live just
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outside of Ely in Hadnam.
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And for over 15 years now,
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I have worked for myself running a business called We Three Club with
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my husband Chris. That is still
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a thing. Basically,
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what we do is a design studio, and predominantly it
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started doing stuff for bands and musicians and then
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has organically moved into doing more branding work,
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mainly in hospitality.
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And now I have moved more into kind of marketing
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and visual communications and things like that, whereas Chris
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has actually started working for Sony full-time
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doing merchandise for bands as one of their senior designers there.
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So yeah, so Week 3 Club is still bubbling kind of under the surface as
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our kind of our
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main company that will always be there that we kind of built up,
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lying a little bit dormant. Yeah, we kind of, we still work on
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big projects that come along that we've kind of always worked
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with. For instance, Record Store Day,
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we do each year, 2000 Trees Festival and
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bits and bobs like that. So yeah. Yeah. Cool. So going
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back in time. Yes. 15 years. How did Well, I guess,
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how did you and Chris kind of cross paths and then create We3Club?
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So my background initially was
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that I was very keen on obviously art,
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creativity. I went— I actually went to London College
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of Fashion and did makeup for TV and film as
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a degree. But whilst I was there, I have always been really
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passionate about music and going to gigs and
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part of that, then I would put on gigs in and around Cambridge,
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like the Portland Arms and the Labour Club,
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CB2, all over the place in Cambridge. When you're putting on
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gigs, gigs need posters.
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So I got really heavily into gig poster design,
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then realized, oh, there's a whole load of total nerds out there
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that are really into gig poster design. One of them is Christopher White.
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So yeah, we got talking via MySpace.
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Um, and basically he was putting on a show,
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like an exhibition where he lived in Kingston, um,
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called Poster Roast, where he brought together UK
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gig poster artists to exhibit there and they had music.
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And I was like, that's so cool, I want to do that in Cambridge.
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So I actually put that on a Poster Roast in Cambridge
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at this place that was called The Shop on Jesus Lane, which was
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actually a university-owned building that some
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students took over and became an art space
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for a couple of years, maybe a year and a half. It was very
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cool and I kind of wish there was stuff still happening like that in Cambridge,
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but obviously it's so expensive to ever find anywhere like that in Cambridge. But definitely
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these days. Yeah, but yeah, it was awesome.
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So I put on this exhibition of gig poster artists, invited all the gig poster
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artists up to kind of you know, hang out.
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Um, and Chris was one of them, and so met him.
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The rest is history, really. We then got together, and he
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was working for a merchandise company at the time, and I
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was just working freelance. And then we gradually, we just merged
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and decided to start up our own design company, and we called it We3Club.
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Yeah. Um, and so that's the kind of the history initially.
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Awesome. And did you know kind of early on in life, like when you finished
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at London College of Fashion and stuff, that you wanted to go and do it
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in a freelance or on your own kind of thing? Like you didn't want to
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go to work for like a big house somewhere, like a big agency or something?
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Well, I suppose I was coming from
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quite a kind of punk DIY background where essentially
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it was like, well, I just do this. I could just do this. It's fine.
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And things like Photoshop and stuff were quite
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new relatively, and it was all very much like just learning as
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you go along. And I've always just done that. I've just
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kind of, you know, just gone for it and worked on it and seen
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how it goes. I've always illustrated and drawn,
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and it was just mixing the two together and kind
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of doing that for bands. I suppose when bands realized,
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oh, Alex could kind of do this poster or, you know,
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do my t-shirts for my band or whatever, it just kind of grew and like
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spiraled and Yeah, it's quite— yeah, it was quite organic,
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I suppose, how it kind of— yeah, it was, it was, it was cool kind
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of back in the day, like being in the gig scene in Cambridge and seeing
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like the— you kind of got to notice similar poster designs and t-shirts of bands
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that we were gigging with as well. Yeah, I'm sure you did a t-shirt for
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us at some point. Probably. I'm 99% sure there
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is a t-shirt with one of your designs on, but I can't remember. Yeah,
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but, uh, but yeah, even I can't remember what— but
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yeah, I felt like it was amazing. I, I, you know, right place, right time,
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I suppose. Like, I was really lucky to have that opportunity and to be at
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that time going up, like, kind of growing up with loads of
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people that were in the musical, musical industry,
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um, that have now gone on to being, like, really successful,
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or they're now, like, working with bands, they're managing bands, you know. So we've
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all kind of grown up together, which has been really lovely. And I've had,
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um, opportunities due to us all kind of knowing each other for years
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and years and years, which is been really great. Yeah, and it felt like a
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really good time then as well. Yeah, a good kind of time in Cambridge's like
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music like scene. Yeah, because it doesn't seem to be what it was back
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then, but you think like there were just gigs all the time in Cambridge.
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I know, 15, 20 years ago. It's just not— I mean, there was so many
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venues and so many places to go. Like every weekend there were gigs. That was
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just how it was. It's interesting because I was actually talking to a friend of
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ours, James Parrish, the other day who runs a PR company in Cambridge,
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and he's like a massive music nerd as well and was around at that time
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and we were saying that, but then we were thinking, is it just because we
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don't really know what's happening? I don't know. I don't know. Are we old?
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Are we just out of touch? Yeah, out the loop. And I think that's— yeah,
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definitely part of it. I think music happens so differently
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now, like how bands kind of play. And, and yeah, it's a very
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different kind of way of— when a band's great,
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sometimes they skip quite quickly. Yeah. Playing for years.
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So much easier, isn't it? Well, not easier, that's not the right word. But like
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you said, with social media and the internet being what it is now, when you
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think like when we were doing our shows back in 2000,
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like 2002. Oh, 2000, beat that. Yeah, exactly. It was
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demo CDs to venues, dropping off things, being like, can we please come
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and play at yours? Yeah. Having a MySpace page and then hoping people
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went along and that was it. You didn't have social media to like constantly
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churn out material and stuff. Yeah. And everything had to be like really planned in
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advance. Yeah. Um, so yeah, it was totally different.
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Um, I mean, I can, I can imagine the ska punk scene isn't what it
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used to be, especially not in Cambridge, but, uh, never mind.
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And, um, with, with the kind of just kind of going a little bit off-piste
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here. Yeah. Um, just why not? With, with the whole gig poster thing,
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obviously that, that was again, that was a really big thing, was that kind of
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advertising back in the day. Like you got fly— people did flyering and all those
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kind of things. Yeah. Which again, we don't see now. Yeah. Do you think there's
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been a massive shift in the world in that respect? Like everything now is done
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online? Yeah. I mean, yeah, it's a shame.
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I think there's still a lot of people keeping it cool and trying
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to do some cool stuff. But I mean, yeah,
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obviously with the birth of AI and all that kind of stuff, it's pretty depressing.
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I think gig posters— we'll touch on that later.
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Gig posters have had a massive resurgence like over the last
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10 years, you know, it's been building and building because with the digital
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music being so massive, it's like records. I was gonna say, do you think it's
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come back with the whole resurgence of cassettes, CDs, and records? Like everyone, people,
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people want something to take from a gig. Other generations, yeah,
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like now want to have that physical thing again. We used to approach bands saying,
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look, we really want to do a gig poster for this show, whatever, um,
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would you be up for it, you know? And they would not understand what the
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hell we were talking about, like screen-printed gig poster, especially in
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the UK. America, it was massive, but it really wasn't known over
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here when we first started doing it. So it's, yeah,
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it's crazy to think back to those days where we were having to explain what
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it was and that we'd do a small run and it would be limited edition
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and it wouldn't be something that would ever be made again. There'd be 100
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of them and then that's it. You know, it's not something you then keep churning
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out if it does well. It's like, no, It's like limited
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edition. That's it. It's— yeah. But then from looking through
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your web store and then obviously your book. Yes. Like you've
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done that for some massive bands. Yeah. And like multiples
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for massive bands. It's not like a one-off, like, can we do this for you?
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Yeah, here you go. Here's your one shot. Yeah. You've got like multiple designs for
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huge international bands. Like, how does that feel? It's pretty
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nuts, I think. Yeah. Sometimes you have to sit back and be like,
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What the hell? Like, if I told myself,
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you know, 25 years ago that I would have done stuff for all these bands,
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you know, it's pretty nuts. We were— I
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was discussing this last night with Chris and talking
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about people we've done stuff for. So like some of the big kind of names
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we've done, like Florence and the Machine, Metallica,
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Royal Blood was quite an interesting one. That's quite an interesting story.
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Because we were asked to rock and sign the
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festival there. They had a thing where they
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were asking gig poster artists to do— like they were going to have an exhibition
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and create a poster for different bands that would
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take up this exhibition. So bands that were playing the festival. Yeah.
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And we were given a list of bands we could choose from.
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So there was about maybe 8 artists,
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and we got to choose a band from this list. And Royal Blood at the
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time— this is about 2014,
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2015— they'd released one single and
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weren't really well known at all. And, um, Chris,
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because he's a massive nerd, had heard it and had this kind of feeling
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that, okay, these guys are pretty good. Um, so he was
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like, I'd like to do one for them, even though they're really small on
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the bill. Yeah. So we did this poster, went to
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Rock in Sign. It was really amazing.
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We had our first daughter. She was like 2 at the time, and it was
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quite exciting because we got to leave her and run off to Paris for a
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few days. But so we watched Royal Blood and no one
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had really seen them, heard of them. There was such a buzz. It was crazy.
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Like all these kind of, you know, musical people were like,
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oh my God, they're going to be the next big thing. And it was really
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interesting. Um, and off the back of literally that,
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we then did a tour poster for them for the next 5
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years or something, did so many, so much merch for them. One of the posters
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we designed, um, we had this like logo, this tiger's head
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on it, which is now their logo, which people have had like tattooed
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on them. That's crazy. And you think that was just created in
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the end of our garden in Ely and now it's like everywhere.
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That's insane. Absolutely mental. That's definitely one of the most bizarre
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things that are kind of blown up.
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But yeah, like, and Gallows are another
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massive one. That's kind of for me, that's how everything kind
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of started because I did the Gallows artwork
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for their first album and that was the first time
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I kind of thought, okay, this could be something people pay me for.
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Yeah, because initially I was like, this is fun. Yeah, cool.
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Yeah, get your name out there. Yeah, just, it's cool seeing your stuff
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like in print, isn't it? Yeah, I suppose. But yeah, but when Warner were like,
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oh yeah, we're gonna, we've, you know, they've signed and we're gonna pay you money,
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I was like, okay, cool, that's something. Um,
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so that's been amazing because we've had such a great relationship with
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Gallows for years now, and Chris was doing stuff for them
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before I even knew Chris as well. So we both kind of knew them individually.
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Yeah. And then we went on to do all Frank Carter's stuff for
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all of everything he's ever done, really. Um,
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and so yeah, so that's been a really lovely history of kind of doing stuff
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with them. Um, so yeah, lots of stories of different— Yeah, it's amazing.
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I'm just gonna be here all day talking about bands you work with and just
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getting really, really jealous. And also like reminding myself how old some of
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those albums are now. I know. Yeah, let's not talk about that. So moving forward,
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like what, what made you kind of consider the changeover
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into the more the hospitality world and start doing kind of the more branding and
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marketing things? Because obviously, yeah, you know, obviously we have worked— not worked—
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we did work together, didn't we, ever at North State Happen Social and a few
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other bits. And it's— yeah, what kind of made you go from doing posters
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for massive international bands to helping Cambridgeshire businesses do
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their branding and marketing? Well, this is— yeah, it's quite interesting,
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the transition. I mean, it all kind of merges into one, but One
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of the first jobs we had, which was around 2016,
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I think we were approached by this guy called George Craig,
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and he's been in various bands over the years and
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he'd seen our artwork through bands and music
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and blah, blah, blah. He was starting up a bar called Jimmy's.
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Yeah. So he was— so we were approached by George Craig,
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who knew our work through different music and musicians and bands,
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and he was starting up a bar called Jimmy's with his brother Jimmy.
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Um, who was in the bands with him, and they
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wanted it to be really raw rock and roll vibes,
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this bar in Manchester. And they were— they loved
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that it, you know, they weren't— they didn't want to approach a branding agency.
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They were like, we want you because you do stuff for bands, and we just
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want you to create our logo. We want you to do interiors.
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Um, so it was amazing, like such a great opportunity.
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We did all of the interiors. We were wheat pasting like stuff on the
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walls. We did massive murals. We did like their glasses,
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their uniforms, their beer branding,
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like everything basically. And it was like great, an amazing opportunity.
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So they started with this one bar in Manchester and
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then they opened another one in Liverpool, which again
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was awesome. And we had a lot of fun because we did this massive neon
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wall, which was like insanely huge, which I basically
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illustrated every neon. Wow.
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And they— it was just filled the whole back of the wall and you
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could see it had like windows all around. So you could,
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you know, just glowed basically if you were kind of passing it. It was very
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cool. It's not there anymore, unfortunately, which is such a shame.
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But it was a very cool space. And so, yeah, that was our first,
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you know, dive into that kind of world.
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And then randomly I got approached,
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um, by Lauren Hodge, um,
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who lives in Ely. She was working for the Waterman Pub
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in Cambridge and they wanted posters for the walls in there
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because they were opening up the pub. Anyway, it was City Pub Company were
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opening up this pub, and off the back of them having our posters,
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they were like Oh, would you do some more branding for some other
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bars and things like that? Like, we'd love to work with you. Yeah. And then
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that rolled into me ending up doing some marketing for
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City Pub Company. Okay. Um, because I was
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like, it kind of all ties together. I think all
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the things I've done, like putting on events,
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promoting, uh, creating posters,
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then branding, it's all marketing in some
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kind of way. Yeah, exactly. And so actually, it— that's
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what I just love kind of doing. Yeah. Um, and so it's
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now really nice to have moved into that kind of next phase. Yeah,
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basically. And how are you finding— cannot— not necessarily
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competing, but we're kind of working against bigger, more established kind
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of branding companies. Like, what do you think makes your kind of approach to things
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a bit unique and a bit different compared to them? Oh gosh, that is quite
17:30.429 --> 17:34.341
a hard one. Trying you with a hard one. I think what—
17:34.841 --> 17:39.700
because now I'm working on my own really and
17:40.200 --> 17:43.743
running this company, which is like a kind of the visual communications
17:44.243 --> 17:48.187
and everything like that. It's more that I suppose I
17:48.219 --> 17:52.342
have an understanding of a lot of different aspects that go into
17:52.631 --> 17:55.888
a brand and selling yourself as a company.
17:57.026 --> 18:00.376
And what you might need. So I can
18:00.472 --> 18:03.982
do all the design work, I can do websites, I can kind of
18:04.095 --> 18:06.515
do content creation, social media,
18:07.460 --> 18:11.227
like basically anything to help support that brand I'm
18:11.727 --> 18:15.362
kind of able to do. Yeah. I've also built up a massive wealth
18:15.490 --> 18:19.161
of contacts, I suppose, over the years locally and further
18:19.661 --> 18:22.735
afield that is quite handy to kind of tap into and stuff like that.
18:22.783 --> 18:26.560
So yeah, I suppose experience and Um,
18:27.060 --> 18:30.320
maybe, I don't know, I think, I don't know,
18:30.820 --> 18:34.380
everything I keep thinking is really cheesy to say. I guess
18:34.880 --> 18:37.620
it's coming from a different industry, I suppose. Yeah, it gives a kind of a
18:38.120 --> 18:41.400
fresh set of eyes on things too. Yeah. When you, when you've got particular
18:41.900 --> 18:44.520
types of agencies that do a particular kind of work, it starts to get a
18:45.020 --> 18:48.320
bit samey. Yeah. And you can kind of tell who's done
18:48.820 --> 18:51.520
what work for who and then who's using the same company because it starts to
18:52.020 --> 18:54.660
look the same. Yeah. I guess from coming from a completely different, well, not completely,
18:55.160 --> 18:59.251
but yeah, a relatively different industry Yeah, you've given it like a different edge that
18:59.784 --> 19:03.061
wasn't really around before then. Yeah, it's a bit kind of more raw, I guess.
19:04.097 --> 19:06.807
Yeah, and yeah, yeah, creative. Yeah, I suppose so. Yeah, yeah.
19:07.598 --> 19:10.663
So I love it. With regards to kind of for other
19:10.728 --> 19:14.004
businesses, what, what does good
19:14.101 --> 19:17.225
branding actually mean like to you when you're— when you've given a
19:17.274 --> 19:20.316
brief or someone said, you know, we need help with our branding?
19:20.413 --> 19:22.275
What, what would you consider is a good branding?
19:24.217 --> 19:28.073
Approach? Yeah, I mean, it's looking at everything as,
19:28.493 --> 19:32.220
you know, as a whole. I think it's really important
19:32.720 --> 19:36.732
that from the outset you're understanding your brand, who you're
19:36.748 --> 19:39.661
wanting to talk to, your tone of voice and, and what you're trying to get
19:40.161 --> 19:43.707
out there. It's— yeah, it's quite hard
19:43.755 --> 19:47.161
to kind of do that. I mean,
19:47.209 --> 19:50.487
some people do it really well, like off their own back,
19:50.551 --> 19:52.480
you know, and that's fine. But I think it is really great to bounce stuff
19:52.980 --> 19:56.598
around off of somebody that might
19:57.098 --> 20:01.389
have more of an understanding of that kind of creative edge that could
20:01.581 --> 20:05.827
elevate your brand, you know, and really make
20:06.327 --> 20:09.848
it shine amongst— because it is really hard to kind of stand out. Like,
20:09.976 --> 20:13.165
there's a lot of people out there doing a lot of amazing things,
20:14.142 --> 20:17.683
and sometimes those people are doing amazing things and their brand just
20:17.763 --> 20:21.304
isn't right. And then they're not
20:21.804 --> 20:25.215
from that background. Yeah, they're good at what they do. But then they fall short
20:25.715 --> 20:28.889
because they haven't got the— and it's such a shame. Yeah, it's like,
20:29.049 --> 20:31.874
oh God, it kills me. I can't handle it. I'm like, oh no.
20:32.740 --> 20:35.901
Um, so yeah, I, I want
20:35.965 --> 20:39.463
to just save all those people. And with,
20:39.479 --> 20:42.672
with that in mind, what do you think the biggest mistake that businesses make when
20:42.704 --> 20:45.480
they're— when they're like, they'd say they're trying to do it on their own?
20:45.737 --> 20:48.641
Yeah. And they're doing their branding. What are kind of the common mistakes you see
20:49.141 --> 20:51.770
that you often either get called in to fix or that you just notice and
20:52.270 --> 20:55.940
think God, if I had 10 minutes, I'd go and help them. Yeah, I just
20:56.440 --> 20:59.802
saw that out. I'm obsessed with everything kind of flowing really
21:00.302 --> 21:03.944
neatly together. I think if you want your
21:04.057 --> 21:07.527
company to be seen as like
21:07.607 --> 21:12.786
a, you know, a kind of well-put-together
21:13.286 --> 21:16.752
kind of brand, you know, it's really great. It's really easy to
21:16.800 --> 21:20.875
get an email, a website, and socials and
21:21.375 --> 21:24.110
things like that all really locked in and tight kind of from the outset.
21:24.432 --> 21:28.345
Yeah, it's just quite important to kind of have those things
21:28.361 --> 21:31.391
now as much as it's like, you know, a shame that you have to kind
21:31.891 --> 21:35.511
of rely on all of that. But I just think
21:36.011 --> 21:40.781
that, yeah, I think it's really important to consider all
21:40.830 --> 21:44.361
of those elements and how your logo and brand will sit
21:44.378 --> 21:47.368
amongst it. It doesn't have to be crazy,
21:48.050 --> 21:50.822
complex in any way. It just needs to be,
21:51.451 --> 21:54.755
yeah, like considered. I think I'm just
21:55.255 --> 21:58.786
trying to think as I go along. But one thing that I cannot handle
21:58.866 --> 22:02.238
is people thinking of a logo.
22:02.593 --> 22:06.562
If you have a logo that's too detailed, then it's
22:07.062 --> 22:10.348
going to be really hard to like resize that or have that really small if
22:10.848 --> 22:14.084
you're thinking about social media or things like that. Obviously, yeah, there's things like that.
22:14.600 --> 22:18.331
You need to make sure it can be like really bold and simple for these
22:18.831 --> 22:21.525
different places, that it can look good in black and white just as well as
22:21.557 --> 22:24.815
it does in color, that you've got a horizontal and
22:24.992 --> 22:28.475
a vertical kind of version of that logo so it can adapt
22:28.975 --> 22:32.134
to different things, things like that that maybe people just don't— they're like, sweet,
22:32.150 --> 22:35.537
we've got a logo. Yeah, but actually, I think, yeah, you see
22:35.585 --> 22:38.843
kind of overcomplicate things. They kind of, they think too much into
22:38.891 --> 22:42.069
it. And then like you said, it doesn't— it looks great in one design.
22:42.342 --> 22:45.490
Yeah, but then it doesn't look good in others and they kind of shot themselves
22:45.990 --> 22:48.445
in the foot because once you've got a logo, that's quite a commitment. Yeah.
22:48.670 --> 22:52.347
For quite a long time. Like you can't really rebrand every 6 months.
22:52.604 --> 22:56.876
Yeah. Yeah. It's, it's, it can be something that's flexible and bold
22:57.021 --> 22:59.735
and simple. Yeah. It's kind of all that's needed. And, you know,
23:00.072 --> 23:03.846
it's, it can be really simple, but it's just little
23:04.346 --> 23:07.990
things that sometimes it's useful to kind of get it. You might
23:08.022 --> 23:11.149
not have thought about it. And a lot of the time, you know, I'm working
23:11.649 --> 23:15.219
with people that they're amazing chefs, they're amazing, they're producing
23:15.235 --> 23:18.584
incredible things and they don't care really
23:18.841 --> 23:22.222
about— That's not their priority, is it? They appreciate it,
23:22.286 --> 23:26.950
but they're like, please just do this thing. And I'm
23:27.450 --> 23:30.235
like, yeah, because they've created this amazing product.
23:30.860 --> 23:33.808
It's a shame for it not to have,
23:34.081 --> 23:36.938
you know, that great brand around it.
23:36.986 --> 23:40.743
So, um, I think it's really important, yeah, to do. And just
23:40.823 --> 23:44.773
kind of digging further into a quite
23:45.273 --> 23:48.017
a— what some might consider a big issue at the moment, yeah, are those people
23:48.033 --> 23:51.100
that don't necessarily see the need
23:51.421 --> 23:55.034
to have those kind of branding exercises done. They don't really see the need
23:55.534 --> 23:58.213
to use the service of someone like yourself or another agency and things, and they
23:58.245 --> 24:02.752
go down the So what's the word for it? But they
24:03.252 --> 24:06.631
go down the AI route. Yeah. And how, how have you found both
24:06.727 --> 24:09.436
personally and I think industry-wide, um,
24:10.093 --> 24:12.898
this is going, like, with people that are kind of now thinking, well, I can
24:12.914 --> 24:17.018
do it myself? Why? Why? Because it's so easy to produce stuff on through
24:17.082 --> 24:20.448
AI now. Like, more you're finding more people like, well, we can save the
24:20.948 --> 24:23.397
money, we don't need to spend it, we can— this looks— this is great.
24:24.135 --> 24:27.597
I think there is a place for AI
24:28.223 --> 24:32.077
Like, but I think that you—
24:33.201 --> 24:37.650
it's very obvious when people do it and it's a real shame and
24:38.325 --> 24:41.858
it just shows that you haven't
24:42.358 --> 24:45.456
really considered it fully. I kind of feel
24:45.568 --> 24:50.563
like it's, it's more noticeable than people realize and
24:50.852 --> 24:54.948
hopefully it will— people will go back to kind of actually using graphic
24:55.448 --> 24:59.485
designers and illustrators and things like that again.
24:59.936 --> 25:03.650
It's hard because I understand when you're a small business, you might
25:03.699 --> 25:07.411
not have the money to spend on getting people to spend,
25:07.589 --> 25:10.717
you know, time on your logo and things like that. I do. I do get
25:10.847 --> 25:14.162
that. So there's— it's a big
25:14.210 --> 25:18.116
complex web. Yeah, I think illustration would
25:18.181 --> 25:22.042
be my biggest bugbear in terms of things that
25:22.366 --> 25:26.535
AI Yeah, because I think that is— that's
25:26.792 --> 25:30.070
really, really sad. And yeah, I just feel that's painful.
25:30.343 --> 25:33.958
Well, it's taking away the kind of the wonderfulness and uniqueness of
25:34.458 --> 25:36.899
illustration in the first place. Everyone has a different style. The whole point is you
25:36.915 --> 25:40.386
have different illustrators do different things. Yeah. And everyone's going, well, yeah, but the internet
25:40.886 --> 25:44.901
could do it. Yeah. 30 seconds for free. Yeah. And I think like
25:45.110 --> 25:49.240
obviously Canva has been really handy And
25:49.850 --> 25:54.010
there's definitely a place for that. I find that useful as
25:54.043 --> 25:57.464
a tool for when I pass over my brand
25:57.721 --> 26:02.813
stuff to companies who can't use Photoshop or Adobe Suite
26:03.263 --> 26:06.411
to set everything up in templates and things for them. That can be really useful.
26:06.636 --> 26:09.046
But I think on the flip side,
26:09.624 --> 26:13.720
sometimes you will be like, oh God, you know, there's the
26:14.220 --> 26:16.451
same thing that somebody has used on a Canva poster.
26:17.350 --> 26:20.225
Numerous times. Yeah, it all changes the same. Like,
26:20.241 --> 26:23.502
so one company might have done something, you know, and you're like,
26:23.582 --> 26:25.975
oh, it's the same thing. Um,
26:26.810 --> 26:30.986
so yeah, it's, it's pretty tricky. Yeah, we touched
26:31.486 --> 26:34.856
on it briefly with, um, the previous recording with, with Matty Makes Munch about the,
26:35.001 --> 26:38.020
the AI menu, like, issue. Okay. And posters
26:38.117 --> 26:42.067
for, like, a lot of kind of food places. Yeah. And I think it's— yeah,
26:42.228 --> 26:46.078
you're right when you say small businesses don't have budget for expensive
26:46.578 --> 26:49.830
graphic designers. That's, that's a fact. And that's— and I totally get that,
26:49.847 --> 26:53.070
like, because also the, the people running those businesses don't have time. Now we have
26:53.118 --> 26:55.395
it here, and I'm sure you do as well. Like, you're not an accountant.
26:55.684 --> 26:58.554
Yeah, you're not HR, but you have to do all those things as well as
26:58.570 --> 27:01.553
the one thing you actually really want to just do, and that's why you started
27:02.053 --> 27:05.161
your business. So anything you can do to streamline those other things. Yeah. So you
27:05.661 --> 27:08.208
can then focus all your energy on the bit that made you want to do
27:08.708 --> 27:11.580
this in the first place is great. And I don't have a problem with that.
27:12.080 --> 27:15.100
I think that's, that's understandable. But it's when you get— and we— I've seen this
27:15.600 --> 27:18.840
a few times where people have actually paid for someone else's services to
27:19.340 --> 27:22.610
create them something, whether it's a website or some, or some marketing,
27:23.120 --> 27:26.780
and they've used it. And the things they've given
27:27.280 --> 27:30.400
them have clearly been— they've taken them, you know, 15 minutes to make, but they
27:30.900 --> 27:33.280
probably billed them for a day's work or something. Yeah. And that's what I think
27:33.780 --> 27:35.820
is really worrying, is a lot of people kind of jumping on the bandwagon being
27:36.320 --> 27:38.020
like, oh yeah, I can just do it on Canva, I can just do it
27:38.520 --> 27:39.980
on ChatGPT, and then just send them an invoice, and as long as they're happy,
27:40.480 --> 27:43.845
they'll pay it. Yeah. And it's, it's really devaluing
27:44.359 --> 27:47.456
the world that you're in because people who've spent years,
27:47.632 --> 27:51.307
you know, training, qualifying, everything else to get to where you are. Yeah.
27:51.579 --> 27:53.729
And then someone's coming and going, I'll do it for half the price. Yeah,
27:53.842 --> 27:57.564
it's absolutely bonkers. Yeah, I do. I feel positive though.
27:57.917 --> 28:01.255
I feel like, you know, with so many of these
28:01.287 --> 28:03.934
things, people do want, you know,
28:05.202 --> 28:08.588
like true people that are creating these things that they can talk
28:09.088 --> 28:11.845
to, that they can liaise with, and that they can kind of hold their hand
28:11.957 --> 28:15.770
throughout the whole process. I think That's— I feel that's always going
28:16.270 --> 28:20.410
to be there. Like, you know, whatever's happening with AI music,
28:20.490 --> 28:23.910
graphics, whatever. I just— I feel like there's always going to
28:24.410 --> 28:27.570
be— it will never really totally screw everything
28:28.070 --> 28:31.410
up. There'll always be humans. Never. Yeah. Thanks. Yeah. The thought of AI
28:31.910 --> 28:34.680
music taking over the world just fills me with absolute dread.
28:35.850 --> 28:39.970
Never mind. Yeah. Because I mean, I, I, I'm so passionate
28:40.470 --> 28:44.381
about people's brand and like companies.
28:44.638 --> 28:48.571
I just love it so much that when I kind of work
28:49.071 --> 28:51.685
with someone, I literally, you know,
28:52.103 --> 28:55.538
feel like that's my company too. And I, you know,
28:55.651 --> 28:59.199
will do everything for that company kind of thing. And I just feel like,
28:59.729 --> 29:02.779
you know, you don't get that with AI, do you? No, it doesn't. It doesn't
29:03.279 --> 29:07.033
have— it's a system. It's not a person. It can't exactly emote in that way.
29:07.129 --> 29:10.874
Yeah. But just Just kind of going across that, obviously you, you, you're currently working
29:10.890 --> 29:14.747
across kind of a few different businesses and things. Yeah. How do
29:15.247 --> 29:19.196
you kind of stay creative when you're kind of applying different bits
29:19.228 --> 29:22.393
to different companies? How do you, how do you kind of compartmentalize each one?
29:22.749 --> 29:26.205
And you're asking some tricky questions, James. That's why they pay me the big bucks.
29:27.952 --> 29:32.029
I mean, it's hard. I think I've got 2 daughters,
29:32.690 --> 29:36.300
um, 10 and 14, and when I had them
29:36.679 --> 29:40.338
I really struggled with my creativity because I didn't
29:40.838 --> 29:43.576
have the headspace like I had before to kind of, oh, I'm just going to
29:44.076 --> 29:46.912
sit down and draw, I'm going to do whatever. It is really hard because the
29:47.412 --> 29:50.872
juggle of being a parent and having a full-time job is completely
29:50.888 --> 29:55.071
bonkers. So yeah, I mean,
29:55.488 --> 29:58.236
I am inspired by so many people around me.
29:58.878 --> 30:02.551
I know so many talented people that just— I get excited about seeing
30:02.649 --> 30:05.712
all the things they're doing, whether that's art or music or
30:06.212 --> 30:09.998
cooking or whatever. Like I feel really fortunate that
30:10.030 --> 30:14.128
I've got that and I'm kind of continually searching for that
30:14.369 --> 30:18.600
and more things like that. Yeah, I suppose that's my passion
30:18.649 --> 30:20.716
and my kind of inspiration.
30:23.172 --> 30:24.994
And I'm inspired by the people that I work for.
30:26.781 --> 30:30.529
So I always get a buzz off of, off of that as
30:31.029 --> 30:34.326
well, really. And it is, it's definitely a community thing, isn't it? Kind of.
30:34.503 --> 30:37.756
Yeah. You, you all kind of muck in together and it, it gives you that
30:37.788 --> 30:41.050
motivation where like you're having a kind of a maybe a, a bit of a,
30:41.195 --> 30:45.163
I don't know, the word, you know, when you,
30:45.983 --> 30:50.000
you got a creative block. That's the word. Yeah, yeah, yeah. Because I know I've,
30:50.080 --> 30:53.197
I've found that when obviously not quite nowhere near the same scale when I was
30:53.230 --> 30:56.491
doing freelance writing. Yeah. When I was in the zone, I was in
30:56.588 --> 30:59.078
the zone smashing it and I could do like 4 or 5 articles in a
30:59.578 --> 31:02.790
day, send them all out, happy days. But then when your brain's, you know,
31:03.290 --> 31:06.550
your heart's not in it and your brain can't make the words just magically appear.
31:07.050 --> 31:10.330
Yeah, it gets really like almost soul destroying because then you get to
31:10.830 --> 31:12.910
that point where it's that vicious cycle. Like, well, I can't write, I need to
31:13.410 --> 31:15.790
force something out. Yeah. And then what you do, you're not happy with. So you
31:16.290 --> 31:19.410
keep then, you know, scrubbing out and starting again. Yeah. And the next thing you
31:19.910 --> 31:22.950
know, you're like, you know, in a ball in the shower. Yeah. What have I
31:23.450 --> 31:26.670
done? Yeah, something like that. I need a new job.
31:26.990 --> 31:30.640
Yeah. Yeah. Yeah. Yeah. And how
31:31.140 --> 31:34.798
have you found like working in and around Ely and Cambridge? Like the community
31:34.831 --> 31:38.908
has supported you through everything really? Yeah, it's interesting.
31:39.070 --> 31:42.471
I mean, everyone always thought we were in London really with We3
31:42.971 --> 31:45.922
Club. They kind of would be like, well, can we come and have a meeting?
31:46.034 --> 31:49.304
Like we can do next week or whatever. We're like, we're in Ely.
31:49.803 --> 31:53.344
They're like, where? So I
31:53.844 --> 31:57.328
love that. I love that we weren't in London and that we were just
31:57.396 --> 32:00.813
out here doing our own thing. Like, you know, I think that's
32:01.227 --> 32:04.716
great. And I think from that, you then create
32:05.216 --> 32:07.931
your own little hub of different people doing awesome stuff.
32:09.670 --> 32:12.400
You know, we've met along the way. I mean, Steak and Honour,
32:14.242 --> 32:17.623
like, we've known them for years. We stalked them
32:18.123 --> 32:20.183
for their burgers a long time ago.
32:22.130 --> 32:26.750
But, you know, people like that, and with the bake shop, we were working
32:27.633 --> 32:30.968
with, um, in Luca's bakery at one point near
32:31.468 --> 32:34.335
Witchford. Um, so we literally had our office in his bakery.
32:35.153 --> 32:38.440
Um, so it's a dangerous place to work. It was dangerous as well.
32:38.680 --> 32:42.063
It's bad enough that they have a shop in Ely that's close enough to walk
32:42.563 --> 32:46.521
to. So yeah, I can't imagine being 6 feet away. Yeah. But yeah,
32:46.713 --> 32:50.160
so I just, I love that there's just pods of random
32:50.660 --> 32:53.752
people all over the place just doing these little things and you kind of meet
32:54.252 --> 32:58.034
them along the way and it's, um, It's just really cool. And like, there's just
32:58.534 --> 33:02.011
a really lovely community and people that we've known here for years. And obviously
33:02.511 --> 33:06.165
I brought Chris here to the dark side and
33:06.197 --> 33:09.997
he loves it. I was going to say, he doesn't seem that bothered by leaving
33:10.126 --> 33:14.135
the big city. The big city and moving out to where
33:14.635 --> 33:18.273
we are. The dark fence. Yeah, he's loving it. And now we're in
33:18.289 --> 33:21.095
Hadnam. So yeah, yeah, it's great.
33:21.657 --> 33:24.838
Awesome. So quickfire round,
33:25.528 --> 33:28.580
which is never quick, but we'll try it.
33:28.998 --> 33:32.483
Something. And probably some quite tricky ones, I think, here. Oh God. Um,
33:33.077 --> 33:36.482
what is your favorite local independent business? Well,
33:36.803 --> 33:39.293
minus the place you're in right now,
33:40.128 --> 33:43.469
obviously. Obviously. Um, well,
33:43.742 --> 33:47.260
I, I've just mentioned them, but I would have to say Steak and Honour and
33:48.846 --> 33:52.352
Burn. I just obviously, as I said, we met them.
33:53.079 --> 33:56.892
I'm just trying to think when we met them, but they
33:57.005 --> 34:01.700
had just had their first son. We'd just had our first daughter and
34:02.200 --> 34:04.852
we were like, you make really good burgers. That's cool.
34:05.536 --> 34:08.519
And we've just had kids at the same time. So we ended up just hanging
34:08.536 --> 34:11.732
out and managed to eat a lot of burgers
34:11.927 --> 34:15.701
in that time. Yeah, you make good burgers. Let's be friends. Yeah, essentially. Yeah,
34:15.717 --> 34:17.159
I think that's a good way to search out pals.
34:19.467 --> 34:23.218
And then we kind of ended up creating their logo
34:23.330 --> 34:27.016
kind of accidentally. We did a t-shirt design and then I think Leah was like,
34:27.353 --> 34:31.152
sweet, let's use this as a logo. We're like, okay, cool.
34:32.562 --> 34:36.441
So yeah, it's been great to know those guys and see how well
34:36.473 --> 34:40.176
they've done over the years. And I love Byron so much. It's like
34:40.320 --> 34:43.734
if anyone hasn't been there, they need to check it out because it's absolute dreams.
34:44.872 --> 34:48.691
And Chelsea and Jamie, who work there and manage
34:48.756 --> 34:52.482
there, they're amazing. And I kind of introduced
34:52.982 --> 34:56.158
them because I knew them through city pubs and stuff. So they're total
34:56.658 --> 34:59.791
babes. Yeah, I miss those guys. Yeah, they're always fun to work with. Just you
35:00.291 --> 35:02.875
go there and you just feel like you're in someone's house, like having amazing food.
35:02.939 --> 35:04.959
And I just love that. I'm like, yeah, feed me.
35:05.995 --> 35:09.184
Awesome. So I think I know the answer to this because we've kind
35:09.684 --> 35:13.784
of touched on it a bit. Biggest design trend you'd love to disappear?
35:14.109 --> 35:16.678
Well, yeah, gig posters. I mean, no, sorry.
35:19.190 --> 35:22.885
Yeah. So I suppose AI really. Yeah. And kind
35:23.385 --> 35:26.697
of bad Canva. Bad Canva. Just bad
35:27.197 --> 35:30.129
Canva. Yeah, I guess that's the name of a great book. Or a band.
35:30.564 --> 35:34.335
Yeah, that's good. Yeah. We can make a whole thing of really crap designs.
35:34.416 --> 35:38.613
Yeah. And then be like— the merch could just be really shit Canva.
35:39.470 --> 35:43.075
That's one good story. Sneak. There you go. I'm done. I'm going to dust off
35:43.107 --> 35:46.300
my guitar. One business everyone should
35:46.348 --> 35:50.058
keep an eye on? Well, I was thinking
35:50.558 --> 35:54.362
about this, and I'm gonna say Willow Grange
35:54.442 --> 35:57.911
Farm, who I'm working with at the moment, because I have
35:58.411 --> 36:02.376
recently started working with them, and they're all lovely
36:02.568 --> 36:06.069
peeps, and Clara is a total babe, and there's lots of exciting
36:06.102 --> 36:09.426
things happening there, and I'm really pumped for
36:09.779 --> 36:14.175
what the future holds and the fact that is close to Ely is
36:14.207 --> 36:17.429
again really great. So I definitely would do
36:17.929 --> 36:21.388
a shout out. Yeah, it's, it's something Ely's needed, I think, for a very long
36:21.501 --> 36:24.755
time. And there's been other attempts at similar businesses,
36:24.867 --> 36:27.801
but they just haven't quite got it right. Yeah. And I think they're doing,
36:28.378 --> 36:32.401
yeah, really cool stuff. Such a nice space. Yeah. And yeah,
36:32.882 --> 36:36.168
lots of exciting things to come. So yeah, when I lived in
36:36.668 --> 36:40.260
Wilburton and they were just getting set up we were there. Basically, this whole business
36:40.760 --> 36:43.800
was planned in, in that cafe. We were there like 3 times a
36:44.300 --> 36:46.900
week, laptops out, let's get the numbers done, all this kind of stuff. And we
36:47.400 --> 36:49.800
still, well, you know, you saw me at the weekend, we still go back.
36:50.300 --> 36:53.870
And that's why obviously we're hosting our small business summer party there in September.
36:54.340 --> 36:57.060
Um, but yeah, I think, I think, uh,
36:58.840 --> 37:01.960
where's— we had to get that in. We did. Yeah, it's essential.
37:02.460 --> 37:03.880
I might have to make it a thing moving forward. It has to be in
37:04.380 --> 37:07.620
every single future episode. Um, but yeah, no, I mean, Clara's great,
37:08.120 --> 37:10.213
the team there is great, and like, we're really excited wanted to do some stuff
37:10.713 --> 37:13.885
with it. We always wanted to do something. Yeah, yeah. So that's,
37:13.966 --> 37:18.087
that's gonna be really fun too. I love it. I just, I love working with
37:18.151 --> 37:22.128
like a really lovely community kind of feeling company,
37:22.160 --> 37:25.400
kind of. Um, when I set up Norsto Tap and Social,
37:26.074 --> 37:29.634
it was all about the community aspect for me. I just, I love that so
37:30.134 --> 37:34.317
much. That's a massive core to everything that I do and
37:35.231 --> 37:38.195
work Um, with. I just— it's really important. Yeah.
37:38.275 --> 37:41.015
So I know we haven't really touched on that, but I mean, that was a
37:41.079 --> 37:44.123
huge project for, for the area as well. And like,
37:44.524 --> 37:47.713
it's still doing really well and it's still doing what it said it would do,
37:47.729 --> 37:50.196
and the community still actually love that place. So that's, that's great as well.
37:50.420 --> 37:53.897
Yeah, that was, that was really fun for me to kind of get my
37:54.397 --> 37:57.727
teeth stuck into. And, you know, you know, to choosing the
37:58.227 --> 38:01.460
toilet tiles and the grout color, I, I love all of that.
38:01.732 --> 38:04.891
So it was really exciting to kind of do that. Awesome. Yeah.
38:05.942 --> 38:09.206
So one book, podcast, or creator that's inspired
38:09.238 --> 38:12.389
you recently? Oh God, did I write anything in my notes?
38:13.280 --> 38:15.000
Oh God, I can't remember what I said.
38:16.715 --> 38:18.024
Oh, did I say anything?
38:20.019 --> 38:22.175
Oh no, I left it blank, James. Left it blank.
38:23.933 --> 38:27.906
What's inspired me? Um, what's your
38:28.406 --> 38:31.901
favorite podcast at the moment? Oh God. I listen to quite a few different ones.
38:32.753 --> 38:36.659
I love Off Menu. I kind of— I went
38:37.159 --> 38:40.719
to the live recording of that at
38:41.060 --> 38:42.505
Royal Albert Hall, I want to say.
38:44.350 --> 38:47.287
London. London. Somewhere in London. Yeah.
38:48.013 --> 38:51.240
Big city. And yeah,
38:52.031 --> 38:55.717
but I'm listening to the Lena Dunham Well,
38:55.733 --> 38:58.236
I'm reading her book actually. I've got the, um,
38:58.765 --> 39:02.375
audiobook downloaded, but, um, I keep mentioning this book all the time,
39:02.391 --> 39:05.247
but I just loved Girls, the TV series.
39:05.905 --> 39:09.499
And, um, so I'm listening to her book at the moment. Actually, I'm reading it.
39:10.028 --> 39:13.814
Oh, I could listen to it. That's why I was— anyway,
39:14.023 --> 39:17.055
yeah. Um, God. And fine, I'll let you, let you off now.
39:17.617 --> 39:21.952
Um, if you weren't doing what you're doing now work-wise,
39:21.984 --> 39:24.940
not sat here in front of me. Yeah. What do you think you'd be doing
39:24.972 --> 39:28.251
instead? Okay. Well, I get so
39:28.283 --> 39:31.729
excited about the possibilities of like endless jobs.
39:32.637 --> 39:36.609
I feel like my kids are like, you're crazy, because I'll watch a
39:37.109 --> 39:39.530
film, for instance, and I'll be like, you know, there was someone that made that.
39:39.755 --> 39:42.895
And there was someone that they had to get to do that, that made that
39:43.395 --> 39:46.679
thing, or someone did those lights. And, you know, because I'm just fascinated that
39:47.179 --> 39:50.583
there's jobs for every aspect of everything. I don't know,
39:50.791 --> 39:54.574
it's like everything you can see has been made by a job. It's crazy.
39:54.799 --> 39:57.267
Yeah, there's some crazy jobs out there, is what I'm saying.
39:57.925 --> 40:01.804
Um, but interior design is always going
40:02.304 --> 40:05.619
to be something that I feel like I would have loved to have done a
40:06.119 --> 40:09.867
bit more of. I was actually very close to getting through onto a
40:10.043 --> 40:13.826
TV program, interior design for BBC. Um,
40:13.971 --> 40:18.090
they came to my house and interviewed me, like do a test kind of thing.
40:18.299 --> 40:21.700
I was down to like the last few people. And, uh, I didn't get on,
40:21.893 --> 40:25.409
but, um, so that would have been comedy. That is
40:25.473 --> 40:29.182
very cool though. Um, but I love, yeah, interiors and
40:29.246 --> 40:33.276
stuff, and that's why I love it when I can work with a company
40:33.308 --> 40:36.567
that is like starting, like with Norsto. Yeah. Um,
40:36.904 --> 40:40.164
because I can have a real say of how the brand reflects. You've got that
40:40.276 --> 40:43.086
control from the start. You're not coming into something that's already there and gone,
40:43.166 --> 40:46.219
well, how can we fix it? It's like, right, blank canvas. Yeah. Yeah.
40:46.397 --> 40:50.266
And how the brand moves through the space and is reflected in
40:50.347 --> 40:54.136
the space. I think that is sometimes not thought about as
40:54.168 --> 40:58.565
much either. So like, I, again, it all kind of ties together.
41:00.143 --> 41:02.783
So that would probably be cool. Yeah.
41:03.347 --> 41:06.497
So what's next for you? Yeah.
41:06.659 --> 41:09.328
What's, what's, what's on the horizon? And also We3Club.
41:10.379 --> 41:13.777
I know it said it's lying relatively dormant, but I feel there's,
41:13.858 --> 41:17.609
there are things happening. There's things bubbling away. There's always things
41:17.641 --> 41:20.939
bubbling away. So yeah,
41:21.551 --> 41:24.688
I'm just trying to think. So for me, I'm— yeah,
41:24.849 --> 41:27.472
I'm just happy kind of bumbling along.
41:30.168 --> 41:34.228
I've got lots of lovely clients that I'm working for at the moment
41:34.357 --> 41:38.191
and just— it's— I love how organic it is. You know, I'll get
41:38.256 --> 41:41.971
someone coming over, you know, I need this website and I
41:42.181 --> 41:45.655
want to tweak this kind of branding or I want some
41:46.155 --> 41:49.411
content for this and I recently did a bunch of
41:49.911 --> 41:52.469
content for Wood Street Coffee, which has been really great.
41:53.930 --> 41:58.437
They're total babes, actually. And so yeah,
41:58.519 --> 42:01.124
there's lots of fun things kind of happening regularly.
42:02.802 --> 42:06.015
We3 Club, again, we're about to start Record Store
42:06.515 --> 42:09.889
Day. It starts quite early, getting it ready for
42:10.389 --> 42:13.577
the next year. And we just
42:14.077 --> 42:17.900
did, which is quite cool, which actually you might
42:18.400 --> 42:21.940
appreciate Dunlop, the guitar company. Yeah. Um, they are working with Jimi
42:21.956 --> 42:25.664
Hendrix Foundation, and we just designed a bunch of guitar
42:26.164 --> 42:29.646
straps for Jimi Hendrix Foundation. That's amazing. Um, which is
42:29.678 --> 42:33.852
pretty cool. So yeah, Chris was like, this is blowing
42:33.917 --> 42:37.850
my mind. Yeah. Um, so that's— I can't
42:38.350 --> 42:42.249
wait to see them made and put out there. So that's an exclusive.
42:43.227 --> 42:46.899
Um, so that's gonna be really cool.
42:47.012 --> 42:50.074
So yeah, there's always lots of crazy things happening. We've got, um,
42:50.860 --> 42:54.372
I didn't really bring this up earlier, but we do a bunch of stuff with
42:54.872 --> 42:59.006
festivals, predominantly Green Man Festival every year. So every
42:59.022 --> 43:02.726
year, so off the back of the gig poster situation,
43:03.672 --> 43:07.328
situation, we, uh, started the UK Poster Association,
43:07.520 --> 43:11.066
which is a kind of umbrella to support UK gig poster artists,
43:11.291 --> 43:15.243
and we've made a little family of nerds that every year we
43:15.743 --> 43:19.887
go to Green Man Festival and we have a stall there that
43:20.387 --> 43:24.562
showcases 4 different artists' kind of gig posters that we've done. And then we ask
43:25.062 --> 43:29.222
various bands that are playing the festival if we can do a commemorative poster
43:29.784 --> 43:33.270
showcasing that they've played this festival. So we've done
43:34.202 --> 43:38.314
those. I mean, this year we're doing Wilco So
43:38.378 --> 43:42.184
yeah, we just kind of approach the band straight,
43:42.312 --> 43:45.764
like their management or, you know, or whatever. And then we
43:46.264 --> 43:49.634
say, look, we just want to do this thing. We don't make any money from
43:49.682 --> 43:53.150
it. We literally just print them and get the money back from the print.
43:53.472 --> 43:57.181
Like, you know, we don't— it's not a money-making thing. We just love doing it.
43:57.309 --> 44:01.741
Yeah. And then we do the official Green Man poster.
44:02.126 --> 44:05.508
With all the other artists each year, and it's just really great. So we're
44:06.008 --> 44:09.243
at Green Man Festival every year. So if anyone's there, pop by, come and say
44:09.259 --> 44:12.545
hello. Say hello. My kids have been going since they were like
44:13.045 --> 44:16.953
2, so they're pretty much primed, ready to run the stall. But the
44:17.453 --> 44:21.041
problem is people that come to the stall want to talk to the nerds about
44:21.057 --> 44:24.760
gig posters because there's a lot of— there's a lot
44:25.260 --> 44:28.382
of intense chats that go on.
44:28.430 --> 44:31.961
And like, if you You get a 14-year-old girl, you're like, this is not— this
44:32.461 --> 44:36.215
is not— well, not their bag. No, I wanted some really
44:36.715 --> 44:39.907
solid nerding. But yeah, so I can't
44:40.407 --> 44:43.262
really remember how I got to this point talking what you asked. Things that are
44:43.762 --> 44:47.115
coming up. Okay. But yeah,
44:47.532 --> 44:50.438
that's coming up. That's coming up. Cool.
44:51.144 --> 44:53.552
We could do a wow out. We could do better than that. We could do
44:53.632 --> 44:57.017
an applause. Goes on
44:57.517 --> 45:00.666
far too long. Perfect. So for anyone who doesn't
45:00.715 --> 45:04.229
already follow you on all your social media, where can you
45:04.245 --> 45:08.661
be found? So We Three Club is
45:08.935 --> 45:12.093
on Instagram. We don't actually post that much, but you can have
45:12.593 --> 45:15.960
a little look, have a dive into that. And then my
45:16.655 --> 45:20.257
personal one is Hello Alex White. Yes.
45:20.693 --> 45:22.890
Yeah. Yes. Should know.
45:25.378 --> 45:28.650
On Instagram. And so yeah,
45:29.150 --> 45:32.810
have a little Hello Dot Alex White. That's the all-important
45:33.310 --> 45:36.530
dot. That's really bad, isn't it? But you need to find Hello Alex White
45:37.030 --> 45:41.110
and have a word. I know, exactly. Ridiculous. We will
45:41.610 --> 45:45.630
link it all through. Well, thank you so much for coming in. Really appreciate it.
45:46.130 --> 45:49.010
I'm going to go and dust off a load of old music and pretend I'm
45:49.510 --> 45:52.930
still 19. Oh mate, it was so good to
45:53.430 --> 45:56.090
chat. Yeah, dressed as a cowboy. Yeah. Thank you very much. And thanks, dude.
45:56.590 --> 45:58.503
Yeah. You later.