Your new show, in which you play with a full orchestra, has just kicked off in the UK. How’s it going so far?
I’ve just been playing to audiences of five to twelve thousand people in the UK. It really is a complete head-shock, but those spaces have influenced the way I’ve written the show. This comedians touring into arenas thing has been going on in the UK for years now and I always think they’re pretty crap. So, I set myself the task of making something that almost necessitates the huge space. And, so far, it’s certainly big – it’s absolutely massive.
So how do you fill a stadium?
Well, you get 55 musicians on-stage for starters. It’s sort of serendipitous, because the Australian orchestra idea happened at the same point where my promoters were encouraging me to try for arenas. So, I said “I have to write this orchestra show for Australia, so why don’t we do that?” Economically, it’s kind of stupid but, artistically, quite incredible.
How much new material is in the show?
It’s over half – well over half. We’ve got five old songs and eight new songs, or something like that. All the talk’s new, but the talk...