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The Polyphonic Spree first donned their robes back at the turn of the new millennium; like a new dawning of the ages, they fed from the nutrient rich


ground of forty plus years of music, with frontman and founder, Tim Delaughter conducting the orchestra into their own product. With over sixty musicians having put on those unifying robes since that time, the family continues to evolve, create and take its craft around the world. They’re sometimes, wrongly, described as a cult by anyone who can’t lift the robe from their gaze, but if we take it to mean ritual, following and ceremony, there are more than a few of us who will bow down at their altar. We’re more than honoured to have time with Tim Delaughter, to ask him some questions about the Spree.


THE POLYPHONIC SPREE T


im, you come to Norwich next month as part of your UK tour. You haven’t made it over to us


before. Did you think now was the time to seek out some of your towns less traveled? You know, it’s quite strange how these tours come together and which road you will travel to get where your going. In this particular case we have booked our tour on the route of who wants to see us. So, there must be someone in particular who wanted this show to happen and because of them we are coming to Norwich for the first time. I can't wait to get there!


UK from the off. I read a quote from you that said that London is “kind of where it all started”. Can you tell us about your relationship with our capital? Well… the first time we played outside our state of Texas was in London at the Meltdown Festival, which was curated


14 / June 2014/outlineonline.co.uk


by David Bowie. Te band was really well received and quickly in demand. It happened to be close to summer, just in time for all the festivals, to which we were asked to play and tour. We ended up spending the next three years of our lives touring all over the UK and Europe, all because of that one show in London.


Te band has also crept into the homes of most UK residences too, without people maybe even realising. Your take-up by music sync companies, being featured in ads and films has been immense. Was it a bitter pill to swallow, your art being used for commercial purposes, or were you always pragmatic about the financial implications of the industry? I would definitely say more pragmatic at the time. Te financial reality of our group has been duly noted. It’s exhausting in more ways than one. If we hadn't had those opportunities we


had with commercials, films etc, our touring over there would have come to a halt. What’s interesting is when we began in 2000 it was still a very touchy subject, using your songs in commercials, but when it meant that we weren't able to carry on without the funds to do so, it was very easy for me to accept the idea. Once I accepted that, I never looked back. Of course, you try to juggle the best you can the brands you'll be associated with, which I think we've done a pretty good job with. What’s funny is now bands are being discovered more by commercials and TV shows and films, more so than on the radio. Bands actually try and get their songs on these formats.


‘Yes, It’s True’ is a real success story, creatively and for its origins. It comes off the back of a successful Kickstarter campaign. I worked out that your 1338 backers spent an average of $100 each,


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