D3lta

WEBVTT
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Nick and Sue. This edition of the Chatterbox
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Redux podcast is brought to you in association
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with the Old Glory Iconic Music and Sports Superstore.
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More from them in a bit. Chatterbox. When the
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stars talk, they talk to Nick and Sue. Welcome
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back to the Chatterbox Redux Podcast and today
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our special guest is Delta. this is nick and
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sue with chatterbox giving you all you need to
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know about music entertainment oh yeah chatterbox
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the best interviews with nick and sue the best
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news And now in Chatterbox, we're just lucky
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enough to welcome Greek singer -songwriter, mega
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artist Delta. Welcome. How are you? Hi. Hello,
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Nick. I'm well. How are you? Great. Yes. And
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it's great to meet you. I was aware of you before,
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but in Greece, you seem to be quite a superstar.
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And even in recent times, you did the Eurovision
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thing. Tell us a bit about that and the way you
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got selected. the whole voting thing, how it
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works in, because obviously it's a closed shop
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in the UK, which is how we get such bad entries
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that do so badly, but it sounds exciting in Greece,
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so tell us all about it. Yes, so Eurovision in
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Greece is quite of a big cultural phenomenon
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because everyone just rallies around the contestant
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and loves Eurovision. So people are very much
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invested as to who goes and then support them
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full on. This year, the government actually launched
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a website where you could go online, submit a
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song on your profile. And it doesn't matter if
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you're like completely unknown or the biggest
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artist in Greece, they're all evaluated by an
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independent panel who just listen to the songs
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and select the top 28 songs to compete on live
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TV. And this year, 280 artists applied, which
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when I heard the number, it was very daunting.
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So I thought, OK, there is no way my song is
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making it to the final. But I'm very glad that
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it did. And it was quite an experience. Yeah,
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I came out third in the public vote. So people
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seem to really enjoy the track and the performance,
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hopefully. So yeah, it's very good. Is it something
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you could build on? Would you do it again? Because
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that's not bad out of 280 for a first time. You're
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getting yourself known in Greece. I'm listening
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to your staff. It sounds really good. I think
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you've had hits in Greece. So you're going to
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do it again next year? I mean, I don't know.
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I don't know if it's going to be next year because
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I would do it again only if I felt that I had
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a song that would do really, really well. Sure.
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Because also Eurovision can be a tremendous thing.
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but also it can be sort of a trap as well. So
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if you don't do well in the actual competition,
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I'm not sure how it helps your career. As you
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reference the British now act this year, I'm
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not, you know, even though it was a model computer,
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is that the name? So, so he, I think, you know,
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he got through, but I'm, but because the song,
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I don't think it was the right one and didn't
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really connect. I'm not sure it gave, you know,
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him a sort of big aftermath in terms of like
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a career. Yeah. And then took it on his own back
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to sing in German, which nothing goes, but you
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know, I thought when there was a little point
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where he goes, oh yeah, I thought that might
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be a bit offensive to Germans. I heard him, but
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then when he sang in German, I thought, no, we've
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gone very wrong. It's not good. You know what,
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like what was very funny is that like I watched
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an interview of his. I was embarrassed. Yeah.
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I mean, it's the same, same in a way. I'm half
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English, so my mom is from Manchester. So I,
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when I saw him, so they asked him, so why do
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you prefer ein zwei drei? Because it's called
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drei in German, it's like a different pronunciation.
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And he said, oh, we Brits aren't very good at
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pronouncing other people's languages. And I thought,
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oh my God, that's a horrible thing to say, you
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know. I think, yeah, anyway. But. Yeah, I think,
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yeah. I think maybe people would sing in English
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in the Eurovision because If there is a language
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that somebody else speaks, it tends to be that
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in Europe. So why you want to sing in German,
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I don't know. It doesn't quite, but that's his
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choice. I will say that a few artists try to
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like sing in different languages because the
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idea is that you become more appealing to that
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nationality. But then again, if you do that,
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you better pronounce the words at least. That's
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what I'll say. I mean, French sounds beautiful,
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whatever you're singing, Italian sounds beautiful.
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Anyway, let's talk about you. Very exciting.
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It's great to speak to you as you went through
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that this year. Great experience for you. Let's
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talk about you in Greece and the releases you've
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had in Greece before we talk about this first
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album here. What sort of releases have you done
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in Greece so far? So I've released a few songs,
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I mean... globally like on Spotify, which is
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like available everywhere. I used to be signed
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to Universal Greece for a couple of years back
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in 2021, 2023. So that helped a bit, you know,
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sort of have a somewhat sort of known, I was
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sort of known in this sort of very cult English
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speaking, you know, sort of audience like in
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Athens. But then it is very different to where
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I'm at now where like I I think through the Eurovision
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Song Contest, like even if you intend to or not,
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you sort of are exposed to the mainstream. So
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Man About It was a song that became a top 10
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hit in Greece. So that is really amazing to see
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and how people resonate with the track. So yeah,
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I'll say it. Yeah, I have been releasing music
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for a while, but now it has started in the past,
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I say six to 12 months to really pick up. Sure.
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I mean, it's a great song anyway. I've listened
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to it quite a bit. Yeah, but it's an amazing
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song. I enjoy it. It is good. I like it. We'll
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be playing a few of your songs when the interview
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goes out. And also, when you're in Greece, I
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mean, what sort of venues do you play and do
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you do festivals in Greece? Yes. So actually,
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I'm playing a festival this Sunday. I'm headlining.
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It's a festival with a big radio station in Athens.
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And I mean, I used to do like 150 to 200 cap
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venues before Eurovision. Now we're playing 700
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cap in November in Athens, which is fantastic.
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But also to be honest, you know, I am again a
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bit daunted when I like, you know, sort of. Google
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the venue and saw the size of the room or like
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wow like I can't believe that that many people
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are gonna buy a ticket to watch me perform you
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know it feels very surreal and I'm also glad
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to say that also in the UK like London got sold
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out 150 cap back in May so things have been going
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really well and also the album is just coming
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out now so which we'll talk about in just a moment.
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So let's talk about in the UK. You've just been
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on tour. Tell us about the whole tour and the
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support thing. Tell us about that, what you've
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been up to. Yes, of course. So I've been touring
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with the Marmosets around the UK, which was fantastic.
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They have a new album just out, which is unbelievable.
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And they're also really nice people backstage
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as well. So it was very nice to hang out and
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feel like you're on tour with friends. Yeah,
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so we went all the way from Sheffield to Oxford,
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Brighton, so like all over really. Great cities.
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Brighton's the nearest city you came to and it's
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a great city. If you had the chance to see Brighton,
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it's so lively and vibrant. It's got everything.
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Yeah, yeah. It's great. If you had the chance
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to feel Brighton... I played The Great Escape
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as well. Oh, yes, brilliant. Yeah, yeah, yeah,
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it's amazing. And I love how, you know, as a
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sort of growing up in Athens, being close to
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the sea, sort of this familiar territory for
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me. Yeah, I felt like home. Yes, it's 30. Well,
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the football grounds, because I go and watch
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the football, Brighton, who are in the Premiership.
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They are 35 miles from my front door, so it's
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close. OK, yeah. And of course, we go there to
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go shopping. We go to... shows, cinema and especially
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concerts. It's got it all. Okay, so how did you
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get the gig? Did they ask you or how did it work
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out for you? So my manager knew their agent and
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because I have an album coming out and we're
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really looking for someone to support to help
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sort of promote the album as well. Yeah, they
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like the music and I found that once I met them
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over a pint that they told me that they had over
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60 people who wanted to be on the tour. But they
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are quite selective as to who they want on. So
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yeah. What I find is people that have done sort
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of support like that in the UK quite often end
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up supporting other people and other people and
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other people it probably lead to something and
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I mean what's interesting about the music industry
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is that everyone you know sort of knows each
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other so you know so If you say that you threw
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the marmoset, it's not only good for your CV,
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but maybe they're mates with someone else that
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you want to tour and then they lost them. So
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how is Delta? They're like, oh, hopefully they'll
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say, oh, he's great. So, you know, it's easier
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to sort of go on more support tours and yeah.
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Yeah. And of course, if they come to Greece,
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it's obvious who they're going to ring up, isn't
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it? Yeah, exactly should be should be right.
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Let's talk about this album. What I heard of
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it. It sounds really good. So Mad about it. So
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yeah, let's let's go through some of the track.
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It's my debut album Yeah, obviously the title
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track is mad about it. So yeah It sounds wonderful.
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Tell us a bit about the track. Anyway, just tell
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us the story behind it so this song is the last
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song that I wrote for the album and it's very
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interesting because it felt very much like the
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final imprint that was required, you know, to
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finish this body of work. So the story is, it's
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December 2024, I'll say, yes, oh my God, like
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a year and a half ago, and I was, the album was
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supposed to be done, we had arranged like a recording
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session, and how these things happened, I did
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like one last go, knowing that the album was
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done, to really push myself and experiment into
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a different sound. and I went to a friend's place
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in Lisbon to his flat and I remember as soon
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as I arrived at his place I guess I want to write
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this song where I want an analog synthesizer
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with the predominant sort of sound and for it
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to be like an intro that sounds a bit weird,
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but has a pattern. Yes, I mean, I don't know
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if I can have any of that, but I have an old
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Moog synthesizer in my living room that we can
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experiment with. And because I don't know how
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to use a Moog, that really helped, because I
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was essentially trying to create an arpeggiator
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sound. the Moog doesn't have an arpeggiator built
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in, we just turned a knob that changed the octaves,
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which ended up producing the sound in the intro
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that's sort of quite binary and sounds like quite
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electronic. And then the song was written over
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like a couple of hours. As soon as that sound
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came on, I just, yeah, immediately viably pressed
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record and a couple of hours later we had the
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song. Usually I don't know if a song is good
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or not, because they're all sort of my children
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in a way. What I remember distinctly is that
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when I wrote that song, I listened to the demo
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on my phone about 20 times that day. That same
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night and the next morning. I was just vibing
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on my own, which is always a very good sign.
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And if it sounds good on the phone, it's got
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to sound really good, isn't it? Yeah, exactly.
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And we have a saying in the UK, I don't know
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if it's the same in Greece and other countries,
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I think in America as well, but maybe, especially
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with television, we say, but you should never
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work with children or animals. But I see track
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two is called Kids and track three is called
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Animals. Now, what's the story behind them? Is
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there anything wrong? So, essentially, so Kids
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is a political song, actually. And it's my sort
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of perspective of watching, you know, myself
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and the world around me sort of passively observe
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what's happening around us. And a lot of times
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I think, you know, we just scroll through and
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you watch headlines, you know, what's happening
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in the Middle East or what's happening in America
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or what's happening all over the world. And,
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you know, it's just... that and then a funny
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video of a cat dancing or whatever, you know,
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like something just very different. And we just
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sort of don't pay enough attention to the things
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that we shouldn't be paying attention to. And
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that's why this song is called Kids because the
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chorus ends with a British phrase that I actually
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heard from a friend of mine, which I found very
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interesting, is the kids will be all right. And
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that's the first time I heard it. I'm like, what
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do you mean? And I loved it. You know, I loved
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how, I don't know, sort of... You know, using
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different contexts can sound quite dystopian.
00:14:44.120 --> 00:14:46.100
They are a family owned business founded back
00:14:46.100 --> 00:14:49.759
in 1969. Now Old Glory and I actually share a
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The link is also waiting for you in the show
00:15:48.169 --> 00:15:53.159
notes of this podcast. Don't forget CBUKRDUX.
00:16:07.980 --> 00:16:10.159
Animals again was written actually in Athens
00:16:10.159 --> 00:16:14.659
and I was after a night out and I came back and
00:16:14.659 --> 00:16:18.580
I wrote that guitar riff. When I came back home
00:16:18.580 --> 00:16:22.100
and and like most of the song that night and
00:16:22.100 --> 00:16:25.179
I remember just you know observing sort of people
00:16:25.179 --> 00:16:30.639
around me and how You know if we abstract things
00:16:30.639 --> 00:16:33.940
a bit like we do have like super animalistic
00:16:33.940 --> 00:16:36.240
Behaviors like if you go out in a club you see
00:16:36.240 --> 00:16:38.320
the boys all together walking around, you know
00:16:38.320 --> 00:16:40.980
It's like it's crazy and and that's how the idea
00:16:40.980 --> 00:16:45.100
came about Yeah Are you, would you say when it
00:16:45.100 --> 00:16:47.059
comes to songwriting, would you say you're a
00:16:47.059 --> 00:16:50.120
people watcher and maybe if you run out of ideas,
00:16:50.799 --> 00:16:52.620
do you jump on the metro if you need an idea
00:16:52.620 --> 00:16:54.299
of a song and just people watch? Does it work
00:16:54.299 --> 00:16:58.220
like that? I think people watching and observing
00:16:58.220 --> 00:17:01.019
is a very big part of it. A second big part is
00:17:01.019 --> 00:17:03.840
me, you know, sort of watching something and
00:17:03.840 --> 00:17:08.140
creating a story in my head as to like what this
00:17:08.140 --> 00:17:12.119
person's story might be. But also at the same
00:17:12.119 --> 00:17:13.900
time very often I'll go through something on
00:17:13.900 --> 00:17:16.039
my own and try to write something about like
00:17:16.039 --> 00:17:18.819
my own experience of a situation so I think all
00:17:18.819 --> 00:17:21.980
three are important because If you just rely
00:17:21.980 --> 00:17:24.119
I think on your own experiences then you need
00:17:24.119 --> 00:17:26.299
to go through things all the time yourself and
00:17:26.299 --> 00:17:28.980
that can be quite dangerous because If you go
00:17:28.980 --> 00:17:30.440
through a happy period then there is nothing
00:17:30.440 --> 00:17:39.079
to write about, you know Daydream's already been
00:17:39.079 --> 00:17:41.200
released as a single, I believe. Yes, exactly.
00:17:43.039 --> 00:17:45.819
Daydream. Who was having the daydream? You or
00:17:45.819 --> 00:17:48.779
somebody else on this occasion? So another sort
00:17:48.779 --> 00:17:51.859
of interesting fact, Daydream was written, I
00:17:51.859 --> 00:17:57.160
was in LA at the time and I was single, I wasn't
00:17:57.160 --> 00:18:00.700
seeing anyone and I was actually bummed out of
00:18:00.700 --> 00:18:04.000
a previous relationship and I wrote the song
00:18:04.319 --> 00:18:07.920
thinking what it must feel like to be in that
00:18:07.920 --> 00:18:11.240
situation of daydreaming about someone. So that's
00:18:11.240 --> 00:18:13.240
something that my producer also picked up on
00:18:13.240 --> 00:18:15.079
when we were recording the song because he told
00:18:15.079 --> 00:18:18.539
me, it's interesting because the song has very
00:18:18.539 --> 00:18:22.039
happy lyrics and the music is uplifting, but
00:18:22.039 --> 00:18:24.579
the delivery is a bit nostalgic and slightly
00:18:24.579 --> 00:18:28.319
sad. And I think that's the reason because it's
00:18:28.319 --> 00:18:30.279
not as if I was in a relationship being happy
00:18:30.279 --> 00:18:32.650
saying, you know, when you look at me i started
00:18:32.650 --> 00:18:35.329
daydream that's what i thought i would feel like
00:18:35.329 --> 00:18:39.049
if i was in that situation okay yeah okay yeah
00:18:39.049 --> 00:18:41.089
i've got some great titles here to be honest
00:18:41.089 --> 00:18:46.069
with you uh minor detail yeah what can that one
00:18:46.069 --> 00:18:51.210
mean what does it mean so it's got to be important
00:18:51.210 --> 00:18:53.970
enough to write a song about yes i mean it's
00:18:53.970 --> 00:18:56.769
a funny story because we were with some friends
00:18:56.769 --> 00:19:01.180
at a greek island called hydra And I met this
00:19:01.180 --> 00:19:04.680
tourist one night and we started having a conversation.
00:19:05.400 --> 00:19:07.880
And at some point after a couple of drinks, I
00:19:07.880 --> 00:19:10.160
saw on her phone that she had a picture with
00:19:10.160 --> 00:19:12.799
someone that didn't look like it was her brother.
00:19:13.859 --> 00:19:17.759
And I asked her, so what's going on? I thought
00:19:17.759 --> 00:19:20.779
she was single. And she said, yes, I'm sort of
00:19:20.779 --> 00:19:25.079
open. She said, it's just a minor detail. it
00:19:25.079 --> 00:19:27.400
doesn't matter and I thought that's brilliant
00:19:27.400 --> 00:19:30.240
and the next day I wrote I wrote a song and it's
00:19:30.240 --> 00:19:31.559
and it's one of these songs where I actually
00:19:31.559 --> 00:19:33.279
didn't need to be creative at all I just said
00:19:33.279 --> 00:19:36.460
things exactly as they happened you know wonderful
00:19:36.460 --> 00:19:39.960
uh then we got uh two great ones strange and
00:19:39.960 --> 00:19:44.480
blabbermouth what can they yeah so strange was
00:19:44.480 --> 00:19:50.960
written uh about a relationship like uh that
00:19:50.960 --> 00:19:53.319
ended like three years ago. It's the oldest song
00:19:53.319 --> 00:19:57.859
that I've written for the album. And it's interesting
00:19:57.859 --> 00:20:00.079
because the different sections of the song were
00:20:00.079 --> 00:20:02.200
written at different times. So I wrote the verses
00:20:02.200 --> 00:20:04.779
when I was in the relationship. I wrote the chorus
00:20:04.779 --> 00:20:07.619
as soon as we broke up. So that's why I sing
00:20:07.619 --> 00:20:09.750
out like, I want to call your number. Are you
00:20:09.750 --> 00:20:11.430
up for it? Because she started seeing someone
00:20:11.430 --> 00:20:14.450
else and I just wanted to win her back. And then
00:20:14.450 --> 00:20:16.630
six months after the relationship had ended,
00:20:17.089 --> 00:20:20.029
I wrote The Middle Age, which is, you know, realizing
00:20:20.029 --> 00:20:23.230
what this was. So having some perspective. So
00:20:23.230 --> 00:20:28.089
that's strange and a blabbermouth. Yeah. So blabbermouth,
00:20:28.089 --> 00:20:30.430
I was with a person when I was in Athens and
00:20:30.430 --> 00:20:34.930
I was about to move to England and I wasn't.
00:20:34.940 --> 00:20:37.660
gonna, you know, be here for a few months. It
00:20:37.660 --> 00:20:39.700
was very much a conscious life decision. I want
00:20:39.700 --> 00:20:42.619
to move to the UK sort of permanently for now.
00:20:42.660 --> 00:20:46.619
So she wasn't going to move. So we had to break
00:20:46.619 --> 00:20:51.839
up and it was this song expressing how I felt
00:20:51.839 --> 00:20:55.599
about that situation at that time. Then we got
00:20:55.599 --> 00:20:59.000
Lonely Together and Clouds. Tell us about those.
00:20:59.339 --> 00:21:03.019
Yeah, I mean, yes. I mean, Clouds I wrote for
00:21:03.019 --> 00:21:06.170
a friend of mine who I mean, although it's quite
00:21:06.170 --> 00:21:09.849
dark, it's quite an uplifting song because Clouds
00:21:09.849 --> 00:21:12.630
is reassuring someone that things are going to
00:21:12.630 --> 00:21:14.970
be OK. Like even though you go through a tough
00:21:14.970 --> 00:21:16.990
spot, things are like there is life at the end
00:21:16.990 --> 00:21:19.309
of the tunnel. And Lonely Together was written
00:21:19.309 --> 00:21:22.250
about like alienation and a bit like of, you
00:21:22.250 --> 00:21:24.250
know, being lonely. And when I moved to London,
00:21:24.250 --> 00:21:26.250
actually, I wrote that one and I felt like I
00:21:26.250 --> 00:21:28.450
didn't have that many friends. And like, you
00:21:28.450 --> 00:21:30.069
know, I was seeing a girl that I wasn't feeling
00:21:30.069 --> 00:21:33.710
very connected to. And I was just felt like I
00:21:33.710 --> 00:21:36.730
was Yeah, quite lonely, and that's why the song
00:21:36.730 --> 00:21:39.450
came about. And I love the title because I love
00:21:39.450 --> 00:21:42.369
the contrast, lonely together, that doesn't really...
00:21:42.369 --> 00:21:44.569
It's almost like a clickbait title, you know?
00:21:45.170 --> 00:21:47.109
That's good. Well, the last one, this is track
00:21:47.109 --> 00:21:49.390
10. We've got Midnight, so tell us about Midnight.
00:21:50.670 --> 00:21:54.809
Yeah, so I live in East London, and the Overground
00:21:54.809 --> 00:21:56.829
train passes by. And as we were saying before,
00:21:56.950 --> 00:22:00.250
I'm always people -watching, so... Only one night
00:22:00.250 --> 00:22:03.710
I was sad. by the window having a cigarette and
00:22:03.710 --> 00:22:07.630
watching the train go by and I was watching the
00:22:07.630 --> 00:22:11.750
people on the train and I could see them essentially
00:22:11.750 --> 00:22:15.609
you know and like and their facial expressions
00:22:15.609 --> 00:22:17.930
and trying to create stories as to who they were
00:22:17.930 --> 00:22:22.029
and I find very interesting you know the fact
00:22:22.029 --> 00:22:24.650
that you in the same way that you're in the same
00:22:24.650 --> 00:22:26.529
sort of train with someone for some time and
00:22:26.529 --> 00:22:29.430
you hop off and then you got go in the central
00:22:29.430 --> 00:22:32.740
line or whatever that is In the same way like
00:22:32.740 --> 00:22:35.400
in life if you have a destination that you want
00:22:35.400 --> 00:22:38.359
to go to and sometimes people are with you for
00:22:38.359 --> 00:22:40.500
specific moments in time and then you have to
00:22:40.500 --> 00:22:42.819
let them go and you jump on the next train and
00:22:42.819 --> 00:22:45.460
that's what Midnight Passenger is about. Interesting.
00:22:45.759 --> 00:22:47.640
I like it. I like it. Think about especially
00:22:47.640 --> 00:22:49.680
the London Underground or the Overground or whichever
00:22:49.680 --> 00:22:52.920
one you're on. If you're on a carriage with 200
00:22:52.920 --> 00:22:55.829
people they all look so miserable. and unhappy
00:22:55.829 --> 00:22:58.150
and i've wondered now if i was a songwriter this
00:22:58.150 --> 00:23:00.130
would be a great one i'd write a song about all
00:23:00.130 --> 00:23:02.789
200 of them having just been dumped because they
00:23:02.789 --> 00:23:06.230
just looked so unhappy all of them don't they
00:23:06.230 --> 00:23:08.529
yeah i agree i agree i agree and it's the last
00:23:08.529 --> 00:23:10.369
place in the world where you want to be nice
00:23:10.369 --> 00:23:12.009
and pleasant and speak to someone because if
00:23:12.009 --> 00:23:13.569
you do speak to somebody you don't know on the
00:23:13.569 --> 00:23:16.430
underground they're very very wary they wonder
00:23:16.430 --> 00:23:19.089
oh is he trying to rob me is he trying you don't
00:23:19.089 --> 00:23:22.289
do it do you it's really weird exactly That's
00:23:22.289 --> 00:23:24.329
my observation. I'm not making you say things.
00:23:24.329 --> 00:23:28.829
That's my observation Before we do the social
00:23:28.829 --> 00:23:32.789
media Let me ask you so these ten songs. They're
00:23:32.789 --> 00:23:36.269
all great great stories Do the people they're
00:23:36.269 --> 00:23:38.490
about I know some of these people watching people
00:23:38.490 --> 00:23:41.549
you don't know but say the people you did know
00:23:41.549 --> 00:23:44.150
that you've written about Do they know those
00:23:44.150 --> 00:23:49.009
songs about them do you think? So I think a few
00:23:49.009 --> 00:23:52.609
of them do. And it's interesting because I played
00:23:52.609 --> 00:23:55.970
this, you know, I played this song Clouds to
00:23:55.970 --> 00:23:58.390
the friend, I had played to a friend of mine
00:23:58.390 --> 00:24:01.349
and he absolutely loved it. And he's like, wow,
00:24:01.450 --> 00:24:03.569
that's like one of your best songs ever. And
00:24:03.569 --> 00:24:06.369
then I played it for my friend who I wrote it
00:24:06.369 --> 00:24:09.789
about without telling him that this is, you know,
00:24:09.990 --> 00:24:15.279
I was inspired by him. I played him the song
00:24:15.279 --> 00:24:17.700
and he's like, yeah, it's okay. You know, I'm
00:24:17.700 --> 00:24:21.160
not the biggest fan. I'm like, okay. Yeah, that
00:24:21.160 --> 00:24:23.900
is so funny. But usually they don't know unless
00:24:23.900 --> 00:24:26.420
I tell them. And I have told a couple because,
00:24:27.000 --> 00:24:29.440
yeah. Brilliant. I love it. I love it. Let's
00:24:29.440 --> 00:24:33.039
do your social media. So yeah, websites, platforms,
00:24:33.640 --> 00:24:36.539
YouTube channels. Take as long as you need to
00:24:36.539 --> 00:24:40.009
tell our listeners where they can find you. Yes,
00:24:40.890 --> 00:24:43.289
so it's Delta, but it's spelled with a 3 instead
00:24:43.289 --> 00:24:45.750
of an E. So if they want to find me on Spotify,
00:24:46.029 --> 00:24:50.349
it's D3LTA. And it's the same on Instagram and
00:24:50.349 --> 00:24:54.529
TikTok. It's ThisIsD3LTA to find all upcoming
00:24:54.529 --> 00:24:58.710
gigs, concerts, song releases and whatnot. Fantastic.
00:24:59.130 --> 00:25:01.759
Delta, it's been fantastic meeting you. I've
00:25:01.759 --> 00:25:03.960
enjoyed it and I know the listeners on all the
00:25:03.960 --> 00:25:05.980
stations are going to enjoy it as well. Wish
00:25:05.980 --> 00:25:08.539
you every success and hopefully we can do it
00:25:08.539 --> 00:25:10.799
again sometime. Yes, definitely. Thank you very
00:25:10.799 --> 00:25:12.799
much for having me, Nicholas. Thank you. Take
00:25:12.799 --> 00:25:48.089
care. Bye -bye now. Thank you. listening to the
00:25:48.089 --> 00:25:50.970
Chatterbox Redux podcast and today our special
00:25:50.970 --> 00:25:53.549
guest was Delta. If you're interested in becoming
00:25:53.549 --> 00:25:56.569
a future guest on the Chatterbox Redux podcast
00:25:56.569 --> 00:25:59.089
or the radio show Chatterbox UK you're welcome
00:25:59.089 --> 00:26:01.950
to submit songs, books or whatever it is you
00:26:01.950 --> 00:26:05.589
do and send us a CV, synopsis or press release.
00:26:05.869 --> 00:26:08.910
However, we receive several thousand such press
00:26:08.910 --> 00:26:11.849
releases every week and it's impossible to reply
00:26:11.849 --> 00:26:15.009
to each one individually. Why not email us or
00:26:15.009 --> 00:26:17.029
leave a comment because we'd love to know what
00:26:17.029 --> 00:26:19.730
you think of the podcast. Our email address is
00:26:19.730 --> 00:26:23.950
nickelbum at myyahoo .com Alternatively, you
00:26:23.950 --> 00:26:28.170
could write to us. at P .O. Box 26, the Old Observer
00:26:28.170 --> 00:26:31.730
Building, Telford Road, St. Leonard -on -Sea,
00:26:31.970 --> 00:26:37.329
East Sussex, England, TN 38 9LZ. And wherever
00:26:37.329 --> 00:26:39.690
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00:26:39.690 --> 00:26:42.849
Redux podcast, don't forget to give us a like,
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a follow, a favorite, or whatever it is on that
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platform, just so you don't miss a future episode.
00:26:49.690 --> 00:26:53.210
Sue, myself Nick, and Twinkle the Tuxedo Cat.
00:26:53.609 --> 00:26:56.029
Thank you very much for your company and we look
00:26:56.029 --> 00:26:58.029
forward to welcoming you again next time for
00:26:58.029 --> 00:27:01.349
another Chatterbox Redux podcast. In the meantime,
00:27:01.569 --> 00:27:03.890
take care, we thank you for your company and
00:27:03.890 --> 00:27:46.970
we catch you then. Bye bye. This is Nick and
00:27:46.970 --> 00:27:49.970
Sue with Chatterbox giving you all you need to
00:27:49.970 --> 00:27:58.950
know about musical entertainment Chatterbox the
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best interviews with Nick and Sue the best news