After weeks of waiting, the day had finally arrived. At 2pm, Steve Bonehead picked me up, and so began the chaotic dance of assembling people, instruments, and nerves for the 1 hour 15 minute drive to Manchester. Our destination loomed in the skyline — the unmistakable BBC building on Oxford Road, casting its shadow over us like a headmaster waiting to judge a late homework assignment.
We checked in, got our ID passes, and before heading into battle, made a quick dash across the road to Amigo’s, the overpriced Mexican place, for some food. I thought I was feeling the nerves — until I clocked Martin, who looked like he was ready to dissolve into his fajitas. True to form, ten minutes before we were due to go live, Martin quietly disappeared to the toilet, following Steve, who’d already made his own nervous pilgrimage just five minutes earlier.
Inside the BBC, I was pleased to see that the Sons of Selina sticker I’d slapped in the studio loos on a previous visit (back in September) was still stuck fast. It had since been joined by a proud colony of new ones — quiet, sticky proof of our ongoing guerilla marketing campaign.
We were ushered into Studio 3, also known as the Drama Studio, where we began the ritual of set-up with our sound engineers, Tony and Dave. Over the next hour and a half, mics were tested, cables untangled, and the three guitarists did their best to channel the spirit (and noise level) of Jimi Hendrix’s ghost. Eventually, we pulled it together and ran through the four tracks we’d be playing live on air that night.
10:20pm — go time. You could practically hear seven sphincters tighten in unison as the red light went on. I had a quick on-air chat with Mark Radcliffe about Welsh football (as you do), took a cheeky dig at Delerium for being "chickenshits" about not releasing our first live track, and then — boom — we launched into Climb. Fueled by adrenaline, it was blisteringly fast — probably twice the speed it was supposed to be — but it was the best version we’d ever played. Every note was dead on. Honestly, that rush should be bottled and sold to junkies. We were flying.
About 45 minutes later, Radcliffe introduced Of The First Water, with Bonehead opening on the mellow guitar line. Again — perfect. After that came a longer interview segment, full of piss-taking and ridiculous banter. I even got Radcliffe squirming for cueing up Gamoto Manopano wrong the night before. Steve Sync and Lard then treated the nation to a bizarre monosynth duet, before we ripped into "For Want of a Better Name", which Radcliffe proudly called “blistering.”
Just before our final song, we heard that listeners were phoning in, trying to work out what “Sons of Selina” is an anagram of — no one got it (and no, I’m still not telling). Then came Terminus, just after 11:35pm. Midway through, Martin hit the wrong chord. It threw me, briefly — I was singing the line "Soon all the day of the imperial haze will be lost in the dark of the past" while inside my head was spiraling: Have we blown it? Was this the moment it all unravelled? But I pulled it together — told myself to snap out of it — and we powered through to the end.
After we’d gone off air, Rachel Elmet walked in and said, “That was brilliant. Did you say fucked?” Cue a room full of raised eyebrows. Apparently, the producer had rung down from upstairs, convinced someone had sworn live on Radio One. The engineers were all exchanging looks too. Turns out, they misheard the line “It’s a sad fact…” in "Terminus". I had to do some serious convincing that I hadn’t just dropped an F-bomb on national radio. For the record: I said fact, not facked. Only cockneys say that!
All in all, an incredible night. Pure energy. Live music how it’s meant to be — full of mistakes, adrenaline, banter, and magic.