A teatime encounter: Biltmore Hotel, Miami
Present: Iggy Pop, né Jim Osterberg: singer / Karl Hyde: singer, Underworld Rick Smith: composer, Underworld / Irvine Welsh: author and screenwriter
Irvine: I suppose we should talk about the music then, eh? Maybe first about Smoking On The Airplane [ first EP track, Bells & Circles, which was premiered live by Underworld for the BBC Biggest Weekend in Belfast]. Did you ever smoke on an airplane, Jim?
Iggy: Well, yeah, loads.
Irvine: So, this is a true story, then?
Iggy: It is. I used to enjoy it when I first got a tiny bit of money, just enough to have $ 50 in my pocket. I had a girlfriend in Cleveland, which was like, what, a minute’s flight from Detroit, and it was 25 bucks. “I have enough money to fly to Cleveland, and hit on the girl, and go home!” And what was better was that it was the age of regulation, and all the companies were scamming the government. “Yeah, we need lots of service! We need service all the time from Detroit to Cleveland, so that Jim Osterberg can see his girl right now!” I would get on a TWA Jet with, like, 90 seats on it, and there would be maybe one other passenger. They’d fly the plane anyway. It wasn’t like now where every plane is trying to make so much money; it was more about market share and control. That was a great thing.
Irvine: And you could light up a cigarette any time?
Iggy: I was smoking cigarettes constantly, but then in the incident described in the song, the “smoking on the airplane”, I was out with the last-gasp, truly derelict, desperate Stooges, and that was ’ 73, and we’d had a gig in New York City that… was a disaster. We were on our way to DC and I did snort a gram…
Irvine: You had a gram of cocaine?
Iggy: I put down the tray table, I had a gram on me and I snorted the whole gram, and this tall, beautiful stewardess was available to me, but then I started drinking. I had to take the edge off. But then later, when I got to the hotel, I realised I’d forgotten the number, which was terrible, but then what was really terrible was that because I didn’t hook up with her, I then hooked up with a notorious groupie who had a friend who had some angel dust, so I took the angel dust before the gig.
Karl: Is this the sequel?
Iggy: It was in the Kennedy Centre and we were opening for one of these very twee English groups [ Mott The Hoople]. I don’t wanna say who it is, alright, they had their little hit, and everything was just so…
Karl: That’s like us!
Iggy: And, I wandered onstage. I was trying to sing this song, and I wandered into the audience, and someone in the audience had a peanut butter and jelly sandwich, and he smushed it into my bare chest, and it looked as if I had been hit with a grenade. It looked like my guts had exploded, and so everyone went “Ahhh!” and the promoter went ‘“AHHHHH!” You know, “You’re ruining my reputation! You’re ruining this gig!” But, yeah, you could smoke a lot on the airplane.
Irvine: They didn’t mind about the coke on the airplanes in those days, though?
Iggy: Well, I didn’t mind it.
Karl: Was there, like, a special area for the cocaine? Like there was for smoking?
Iggy: It was an era in which you weren’t body searched constantly, and now you’re body searched or scanned or checked out, or, you know, on the CCTV all the time. That was not the case [ then]. I wouldn’t have advised other people to have taken a gram of cocaine on the airplane, but if you were me, you knew that if you chose to do the cocaine you were gonna do that gram in one hoover. I meant to save it for when we got to where we were going, I wasn’t very good at that sort of thing. I was an impatient person and all.
Irvine: You’re up there in this cylinder, six miles high, flying at 600 miles an hour, you know, rattling away on cocaine…
Iggy: It’s a terrible drug.
Karl: I’ve had Coca-Cola on a plane, sometimes Pepsi cola! And other colas are available.
Irvine: What about this record, this fourtrack EP [ Teatime Dub Encounters], how did it come about?
Rick: [ Trainspotting director] Danny Boyle asked me to help him with Trainspotting 2. We got quite excited talking about different ideas of how to look at music differently from the first film, because with the first film there was no composer involved, it was just his taste. He had this thought: “What if we had an original piece of music from Iggy that would play in this particular scene?” and he would talk to the writer about looking at it again. I thought, “OK, we can do this.” The timing worked out, and Iggy was in London. Iggy: I was doing the Post Pop Depression tour with Josh Homme, and Matt Helders from Arctic Monkeys, and all that lot.
Rick: Iggy was staying at The Savoy and graciously said, “We can meet and talk”, because we both felt a strong connection to Trainspotting and to Danny. I thought, ‘I’ve got one chance here to convince this gentleman that we should work together.’ We hired a hotel room and I put half my studio up in a hotel room and sat waiting.
Irvine: And you told him to fuck off, obviously?
Iggy: The thing was traumatic for me really, the whole thing. I was on this tour with guys 25 years younger than me doing… the quick rock tour schedule. I was in Minneapolis getting ready for a show with Josh, and Matt Helders, doing this long set. [ Iggy’s manager] Henry says, “Danny Boyle really wants to talk to you about doing something for a movie.” And I thought, “Well, that sounds great but I’m in the middle of a tour. My performance is a big deal to me, so don’t… eughhhh.” So everything kind of quietened down for a while. Then I was at The Savoy just getting ready to play London, and then, “Would you meet with Rick who does all the music for Danny, just to talk about it?” I walk into the room and there’s this entire studio staring me in the face. An entire board and a microphone, and a video hook-up…
“Iggy was staying at The Savoy and graciously said, ‘We can meet and talk.’ I thought, ‘I’ve got one chance to convince this gentleman we should work together.’ I put half my studio up in a hotel room and sat waiting.” Rick Smith, Underworld
Irvine: You had all of this, like, a mixing desk and keyboards and all these instruments and all of that stuff, right?
Iggy: There was a conversation by Skype. I liked Rick and he was very polite and that goes a long way with me.
Karl: Well, that’s why we’re still together.
Iggy: I’m a polite person, he was polite and we were able to get to know each other a little. Danny gets on the Skype and, “Uh, I’m a film director and I want everything but I don’t know what I want at all”, which is really the message, right? And I said to him, “Well, what is your film about?” So he said, “Friendship, it’s about friendship.” I said, “OK, I’ll try to give you something about friendship.” I wanted to rise to the occasion. Rick had a number of tracks ready and he just took me through them for things that we could try either today or in the future and I would say, “Does nothing for me” or “I could do something with this”, you know, and one of them was this very melodic, quiet, kind of sad, funny-feel track, and I felt something from that. I thought I could maybe say something about my history of friends. I said to him, ‘Let me try that one track.’ And then my mind was racing because when you are confronted with somebody who has a whole studio there in the hotel room, a Skyped director who has won the Oscar recently and a fucking microphone in front of you and 30 finished pieces of very polished music, you don’t want to be the wimp that goes “uh uhhh”, so my mind was racing… Irvine: You’ve gotta compose on the spot.
Iggy: I just opened my mouth and out came that thing, sort of as a history…
Irvine: Because it’s like that view of friendship which you have in that track [ the third song on the EP, I’ll See Big]... it’s fairly consistent in everything you’ve done and written throughout the years.
Iggy: It is.
Irvine: Has that been a kind of theme or an issue, keeping old friendships, but also being conscious of yourself being successful?
Iggy: I wrestle with the whole concept. About half the time I feel like a chump; I’m like, “What am I doing?!” And then the other half of the time it’s like, “Well, what else am I gonna do? Just be empty all the time?” I think everything that I was able to do in reaction to Rick’s music, and then later Karl’s presence and Esme’s [ Esme Smith, Rick Smith’s daughter, who sings throughout the EP], was coloured by the characters in that film. My mind was somehow connected to the hapless heroes of Trainspotting.
Irvine: This track didn’t make it onto the movie. Why?
Rick: It was very simple really, because at the close of Trainspotting 2 Iggy’s voice from the first film is played. Danny realised quite quickly that we couldn’t hear Iggy earlier in the second film because it would ruin that journey through the film to that particular conclusion.
Iggy: Danny had to make a phone call to me and say something vaguely nice and tell me he wasn’t going to use any of the tracks.
“When Danny Boyle got in touch to buy the rights to Trainspotting, everybody wanted to buy it. I met this one guy – I thought he was Danny’s producer, but he was just a random guy who had a lot of money. I sold it to him.” Irvine Welsh
I was super fine with that, but he didn’t know that, so he starts with, “You really have the most extraordinary voice.” I’m feeling great already! [ Pause] “I’m not going to use any of the tracks…” “Woah fuck!”
Irvine: Directors are world class at giving you bad news.
Tea break Karl: Trainspotting was a life-changer. We had this hit record, Born Slippy, and we were fine with it.
Iggy: Did you have the hit record before Trainspotting?
Karl: Yeah, but it wasn’t anywhere near the hit record that it became. Danny wanted to use it and the legend is that he got a “no” from us, that we didn’t want to be on his film. But our mates had said, “Oh yeah, it’s this film about caning it.” We were, like, “No, our music’s not about caning it.” So he got us in to show us some scenes from the film. You know, babies on the ceiling, that kind of thing. And we’re like, “Oh, OK! That’s a whole different thing.” I said that’s cool. Then the record label wanted to re-release the record. We were like, “That’s cheesy, we don’t want to re-release it.” The little label that we were with, Junior Boy’s Own, canvassed around 100 DJs in clubs around the country and they sent us the document of what they’d said, and 99 of them said, “When we put Born Slippy on, the dancefloor goes crazy, you’ve got to re-release this.” And then there was one DJ who was at the Top Rank in Cardiff who said, “This is shit, I hate this record.” That was the one where we were like, “Look, we told you! We told you!” The rest is history.
Irvine: When Danny got in touch to buy the rights to Trainspotting, I was living in Amsterdam. And I knew nothing about that business and it meant that everybody wanted to buy it. People wanted to meet me all the time. I liked Danny’s film Shallow Grave and I thought it would work well. I met this guy and he goes, “Danny Boyle would be a good director for this.” I go, “Yeah, great.” I thought he was Danny’s producer, but he was just a random guy who had a lot of money who wanted the rights. I sold it to him straight away. Danny came back and said, “What the fuck, you were going to sell it to me!” And I said, “I thought he was your guy! He had a big cheque book. What was I gonna do!?” The guy was very gracious about it. He signed over to Danny. But it almost didn’t happen because of my short-term greed.
Karl: Just think, what wouldn’t have happened. Wow.
Irvine: Yeah. I sold it to some guy, who said he had money. He bought me a drink, like, you know.
Karl: Well, he was a friendly gangster, the kind we like. Can you imagine, if that hadn’t happened, if it had gone to somebody else? Man, there’d be like a whole generation that wouldn’t have a theme.
Irvine: There’d be a lost generation?
Karl: Yeah! Looking for their film. “Where’s our film?!” That was our Woodstock.
Scones break Irvine: That’s one thing I do miss – jam and scones, you don’t really get them over in the States, or Italy.
Rick: But you can get them on an airplane though.
Iggy: I don’t know how some of these subjects came up in the songs. Were we talking about wings when we did Smoking On The Airplane [ Bells & Circles]? I wonder, cos I know that you came up with the “sunlight on my wings” line at one point, which was beautiful, which it needed.
Rick: Yeah, that counterpoint.
Iggy: Some proper English singing. Well, it is! It’s really good singing, this beautiful melody and image.
Karl: Everything you were saying seemed to arrive at that place. There was this sort of idiot in the sky, tripping out, while there’s this other thing going on in the background.
Irvine: What about the shirts? [ Get Your Shirt, track four]
Iggy: Yeah, how did that come up? Did that pop out of me?
Rick: It did. It was the title. The title, I think, was Karl’s. We randomly have titles that don’t really mean anything, and the piece was called Get Your Shirt and you just saw it and were, like, “OK!”
Iggy: Maybe I took my shirt off ? I do that a lot. That’s just a good old rock’n’roll “moaning about rip-offs” song.
Irvine: That’s my favourite track. Karl: It’s got some good lines in it.
Iggy: That’s a really nice piece of music. It’s uplifting, catchy.
Rick: I find this fascinating because you’re all wordsmiths. I’m music, and all I felt was flow. What Iggy did was like a dream come true: just to respond, be spontaneous, be in the moment.
Karl: I remember having a conversation with you [ Iggy] about how you improv. I can improv, but I need to have some words to improv from.
Iggy: I kind of mix the personal, and something I’ve either heard or read. On a song like I’m Trapped [ second song on Teatime Dub Encounters], I’m just singing a personal feeling. But there’s a quote in there from a Suicide song, Frankie Teardrop, and I just changed it. He says, “Frankie got married, and he had a couple of kids, but it was tooo hard!” “Let’s hear it for Frankie!” You know, it was just really too hard for Frankie Teardrop. I’d always liked the out-of-nowhere, “Let’s hear it for Frankie!” So I used that and changed it to, “He’s got a house.” It’s all you have to say. Anybody who’s ever had one, that’s all you have to say, you know. And there are probably so many people who would like to have one, but wait until you get it. You know there are great things to it, but then on the other hand… you’ve got a house! And then on Bells & Circles, it’s half personal experience and then the other part is from the book I liked so much called The Golden Age Of Skyjacking or whatever it was [ The Skies Belong To Us]. I just loved it! Oh my. I could go on and on about that subject, I’d ruin the whole afternoon right now. The amazing things that people did hijacking these airplanes! I need to shut up.
Karl: At least you can remember that stuff! Iggy: I have an idea in my head and then in the seconds before he starts the track I’m mentally putting bits in places on it. Maybe cos this music’s like dub for me. There’s no bloody verse or chorus so it made it easier for me to just concentrate on the day.
Karl: I find that astonishing, that you can do it on the spot. Has it always been like that?
Iggy: Well, I’ve always been able to do that in certain circumstances. With The Stooges’ first gigs, we had two riffs. Then three riffs and then four riffs and I would rhyme ad lib. There was Dance Of Romance, Goodbye Bozos, I’m Sick and Asthma Attack, those were our big four numbers, and the words to those would just be whatever I made them every night. Rappers freestyle too, don’t they.
Irvine: So back then, you would just jam and then play with the words when you were jamming? Then you would come onstage, and just modify them?
Iggy: And keep the title. The title is so important.
Karl: It’s the glue.
Irvine: It’s always the first thing I have for a book. I get a title and then I work out what it’s gonna be.
Karl: And then you take it on a journey?
Irvine: Find out what the fuck it’s about – like Trainspotting, even then I just had the idea for the title. There was no association with drugs or heroin at all. I made all that shit up, basically. I called it Trainspotting because of this or that reason.
Iggy: Just liked the word…
Irvine: It was all after the event. There was no… identification with drugs or heroin use in Trainspotting at all.
Karl: It’s powerful, that title, because of that. But it’s like a badge. It becomes iconic, because it sits on the front of this cool stuff.
Irvine: It’s like when I wrote this book Marabou Stork Nightmares. We’d seen this stork in this zoo, and I just thought, “This is an ugly bastard. This is horrible. I’m going to have nightmares about this fucking thing.” And then I thought, “Fantastic. That’s a great title. You know, what can it be about? Marabou Storks. Africa. Immigration. Colonialism…” Saw pictures of a Marabou Stork devouring a flamingo and I thought, “Well, this is like some kind of violent crime.”
Rick: There was a piece of music we wrote for the [ London 2012] Olympics opening ceremony, and its full title was And I Will Kiss In Revolution. And the most recent piece we put out was called Brilliant Yes That Would Be. Sometimes the way words fall, the spaces that are left between, are more interesting than what I could possibly come up with by thinking about them.
“I wouldn’t have advised other people to have taken a gram of cocaine on the airplane, but if you were me, you knew that if you chose to do the cocaine you were gonna do that gram in one hoover.” Iggy Pop
Karl: And it’s not that things mean nothing. Rick: No.
Karl: Because I’ve struggled with that sometimes. I’ll sometimes say, “All that comes out of my mouth is just shit, it’s just abstract shit, it doesn’t mean anything.” Then Rick will go, “I don’t know what you’re talking about. That’s a very powerful image.”
Tea break Karl: What’s cool about this, and it’s only a small cool, is that there isn’t any, like, “We’re going to release this then, we’re going to let people know something’s coming!” We’re going to do a gig [ The Biggest Weekend in Belfast, on 26 May] and that gig is going to be televised. That’s when we drop the record, on telly, in front of that audience, to the world.
Iggy: I will be disembodied during the gig. Honestly, that’s what happens to you when you get Underworld in any way, shape, they kind of disembody you, you know?
Irvine: You’re not going to be there to perform live?
Iggy: Some time, some day, I would like to sit in the dark behind a screen and do the live vocals while they play. I would love to do that.
Karl: OK, you’re on!
Iggy: But I’m just tired. I’m tired of people looking at me all the time. What I enjoy most in life are my secret hours. So, probably if I ever did this live with these guys, it’ll be when they’re somewhere where they’ve got room for an extra hand for bridge or whatever and I can go behind. Maybe I could have one guy, like, with a cell phone in my face, and nobody could see me.
Karl: We should get, like, a confessional, and you could sit in the confessional.
Iggy: Alright, there you go!
Irvine: I could dress as a priest! But I won’t interfere with you, though.
Karl: Oh, OK. Irvine: Alright, I will.
Rick: I think the question’s fantastic because it’s not where we’re going, it’s that being on the journey is such a buzz, and it’s been like that for me from the first moment.
Iggy: Yeah, right from the get-go.
Rick: And the more I just leave it to happen, not only is the personal pleasure more, but it seems that how other people feel it is more intriguing.
Karl: The magic comes back into you. We’re supposed to be making magic, we’re supposed to be surprising people. Very often, it’s about taking away the surprise, it’s about broadcasting upfront: ‘“What’s it going to be about?”, “Tell me, how is it going to be great?”, “What are you going to do in your show?” Look, just turn up, and I promise you we will deliver a surprise.
Irvine: Underworld jumped out of the whole thing for a bit, and now you’ve come
back with a vengeance. So, really, what were you trying to do when you weren’t involved?
Karl: Trying to kill each other.
Iggy: I had to ask my manager yesterday, what kind of music are these guys? Because I’ve just heard the music, it didn’t sound to me like… I know techno. I’ve heard techno, but I always thought that was “oom-cha oom-cha oom-cha oom-cha oom-cha”…
Irvine: Your views on techno are wellknown to YouTube.
Iggy: But this wasn’t like that. He told me, “They’re techno! Yes! Techno!” So I asked Rick and Rick said, “Yes, we’re techno.” So, my question is, is there hope for me, like, at two in the morning in Ibiza?
Karl: Yes, yes! Do you wanna come to Ibiza? Iggy: No.
Irvine: When I first met Jim back in the ’ 90s, I was lost in acid house. Every weekend I was just throwing ecstasies down and just jumping around on the pills. And I was trying to convey how this felt to me very different from a rock’n’roll experience.
Karl: I think it’s really going to mess with people’s heads, this combination.
Iggy: “I thought you were a techno band!”
Karl: Yeah! “What are you doing with him?!” or “What are you doing with them?!”
Iggy: “He’s awful!”
Irvine: Well, I must admit, I never saw it coming myself.
Karl: And here we all are at this, united by your book, and a good cream tea!
Rick: Yeah, cheers! [ All cheers their tea cups]
Iggy: These tunes are organised like rock tunes, actually. Because that’s where I’m coming from. So even though there’s no predetermined verse or chorus, there’s a sense of verse/chorus in them – except for the slow one [ I’ll See Big]… and the slow one is in the vein of a rock talker, you know, where you tell a story while one lick goes over and over. Karl: We grew up listening to John Peel, very eclectic, so we can listen to an old blues track next to some kind of banging techno. We’ve got really eclectic tastes.
Iggy: I played Aphex Twin for quite a while the last time he had something out. I don’t know if that’s considered techno.
Karl: The purists don’t like us, because we play too many things.
Irvine: I really wanted to ask a big “money” question, because it’s something I’ve been thinking about. Human beings in general are evolving slowly to the state that culture like art, film, music, literature, is no longer going to be essential for communication, so we’re all going to be redundant. We’re going to move into a post-cultural world.
Iggy: You mean because everybody knows the stories, it’s on their phone…
Irvine: The stories have got to a kind of saturation point where it becomes no longer a valid tool of meaningful human communication. What do you think about a post-cultural society?
Iggy: You’re getting near that in Russia today. They had this grand ideal, of the worker, of the proletariat and everything, and that turned out to be an excuse for misery. But you go there now – I really like to be there, and there’s a lot of great people – but there’s only the commerce. Commerce is in total charge. I think that type of thing is everywhere. Everybody’s a little cynical. “Make America Great Again!”: they don’t mean make America wonderful, do they?
“We’re supposed to be making magic, we’re supposed to be surprising people. Very often, it’s about taking away the surprise. ‘Tell me, how is it going to be great?’ Look, just turn up, and I promise we will deliver a surprise. That’s what’s cool about this.” Karl Hyde, Underworld
Irvine: That’s not the game plan at all.
Iggy: They mean make it rich, make it powerful!
Irvine: So, I’m thinking that everything is heading towards zero cost now. It’s possible to make everything for nothing, so it becomes harder to monetise things. I mean, there is a whole generation of kids who don’t want to pay, and why should they? They don’t want to pay for anything like music or books or films.
Iggy: You don’t have a problem with that?
Irvine: I think actually we’re not, in the long run, we’re not going to need to tell stories.
Iggy: So, we’re going to be like ants? Irvine: Yeah.
Karl: But I think stories are fundamental to what we do.
Irvine: We’re free from form! Balls of energy spinning around!
Karl: But storytelling, it’s fundamental to what we are. I think we sit around, we talk, and we make marks, something which says, “This is me” or “this is how I feel” or “I just need to express myself.”
Iggy: I think it is, too. I think we may be moving into a kind of evolution, a human evolution where we’re moving beyond the need for these carbon kind of life forms that we’re going around in, but also in the culture, as the storytelling is an integrated part of humanity, but it’s a lot, it’s a long, long haul. Karl: Yeah, so we better make hay while the sunshine lasts!
Irvine: Yes! Well, that’s what I was trying to say, and that’s why I’m glad you guys have got together at this point.
Karl: Because the clock’s ticking!
Iggy: There’s a number called Gucci Gang [ by Lil Pump], it’s one of my favourite numbers. It’s representative of a new kind of chorus. In the past, the chorus is the part that lifts the listener and hooks them in. Now that’s all gone. In Gucci Gang the chorus is, “Gucci gang, Gucci gang, Gucci gang, Gucci gang, Gucci gang, Gucci gang, Gucci gang, Gucci gang, Gucci gang.” You just repeat it, out of time, without a melody, without any particular inflection and no attitude. But, somebody sat down and thought, “Well, what is a goddamn chorus anyway?” They’re just repeating something over and over. It’s a new step of repetition, it fascinates me.
Irvine: So you’re still walking around with that earworm?
Iggy: Eventually, there may be no need for a story cos we’ll all be like ants, and we’ll all march in a line going around and around… “Gucci gang, Gucci gang, Gucci gang, Gucci gang, Gucci gang, Gucci gang...” Karl: It’s curious what you say about choruses because when this version of Underworld happened, the idea of choruses started to change, for us. There are these spikes you remember, and they don’t have to repeat, but they can be a spike. You look forward to that lift, but it’s a different lift that happens next time, and a different lift that happens next time…
Iggy: “Memorable” is a very important thing.
Iggy: These tracks are a lot of fun to listen to, you know. I enjoy it because I’ve never heard anything quite like this.
Karl: It’s [ Rick’s] fault, he does that. So, we’re going to get this confessional, and we’re going to take it on tour, and sometimes you’re going to appear in it!
Iggy: Yeah, get the confessional, put me in the box. I would, you know. So, did we talk enough?
Irvine: Yeah, all good, and now we’re off to Jim’s. You still got the manatee there, Jim?
Iggy: He’s not my personal manatee. I haven’t seen him in a while but there was a ’gator went by the other day, that’s only the second time I’ve seen him.
Karl: On the way to the shops?
Iggy: He was about your size… six or seven feet. You see these two eyes and “woosh!”
Karl: Do they ever come in the house?
Iggy: No. There’s ducks. I think they’ll show up when they want food.
Karl: Ducks always want food.
Iggy: I was feeding the ducks shortbreads from Harrods.
Karl: That’s such a good opening line for a song! “I was feeding the ducks shortbreads from Harrods.”
Iggy: Right, you know…
Karl: What’s the second line?
“I had to ask my manager yesterday what kind of music are Underworld? He told me, ‘They’re techno!’ I asked Rick and Rick said, ‘Yes, we’re techno.’ So, my question is, is there hope for me at two in the morning in Ibiza?” Iggy Pop
Iggy Pop: “Shall I be mother?”
Table talk: (from left) Iggy Pop, Karl Hyde, Rick Smith and Irvine Welsh chew the fat, Palme d’Or restaurant, Biltmore Hotel, Miami, 2018.
Listen up: (main pic, from left) Karl Hyde, Iggy Pop and Rick Smith strike a pose; (above) Hyde and Smith in 1996.
Director Danny Boyle and Irvine Welsh on the set of Trainspotting 2 in 2016; (below) the iconic poster for the 1996 original.
Iggy with Josh Homme (Arctic Monkeys’ Matt Helders, rear), Royal Albert Hall, London, 2016.
Having it large: Underworld headline The Biggest Weekend in Belfast, debuting their Iggy collaboration Bells & Circles ( centre), 26 May, 2018.
Let the games begin: Underworld direct the music for the London 2012 Olympics opening ceremony.
“So, Claridge’s next time?”; (inset, below) that Iggy/Underworld EP.