keane cause and effect tour

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Keane's Cause and Effect Tour is in Full Swing, See the Setlist

• Last updated: 30 Sep 2019, 21:42:09
• Published: 30 Sep 2019, 21:42:09
• Written by: David Esquivel
• Photography by: Shirlaine Forrest
• Categories: Tour Guide Tagged: Keane Cause and Effect Keane at Royal Albert Hall

Keane is celebrating the release of their first studio album since 2012's Strangeland, Cause and Effect dropped September 20 with the guys launching a series of live dates right after on September 24. While Keane has been playing festivals and shows left and right in 2019, they recently launched a series of live dates post album release that plays out with a setlist heavy on Cause and Effect material.

With Cause and Effect hailing 13 new songs, including two bonus tracks, one can imagine the difficulty at task when putting together a setlist post album release! We actually had the guys stop by our studio a while back and they gave us some insight on how they're putting together a setlist in this age of streaming music, watch:

With several show dates in the books since album release, let's take a look at what a Keane setlist post Cause and Effect looks like, shall we? Warning, spoilers ahead!

How many songs are on the setlist?

The first couple of shows included 24 songs on the setlist but the last several shows have an average of 26 songs.

What song do they open with?

They open the show with the album opening track, "You're Not Home."

Is there an encore?

Yes, on average there is a 4-5 song encore.

What song do they close with?

Pre-encore, they close the show with their mega-hit "Somewhere Only We Know" but the shows final song is "Sovereign Light Café."

Embedded content is no longer available.

Does Keane perform any covers?

It doesn't look like it, they're focused on their catalog this time around.

Can I see the setlist?

Of course, check out the latest setlist from their September 29 concert at Royal Albert Hall in London below.

Can I see the tour dates?

Yup, below you'll find the remaining tour dates for this year along with the recently announced 2020 Cause and Effect Tour dates!

2019 Cause and Effect Tour dates:

October 1 - Newcastle, City Hall October 2 - Edinburgh, Usher Hall October 4 - Nottingham, Royal Concert Hall October 5 - Brighton Centre October 7 - Belfast, Waterfront October 8 - Dublin, Olympia

2020 Cause and Effect Tour dates:

March 5 - Vancouver, BC @ The Commodore Ballroom

March 6 - Portland, OR @ Roseland Theater

March 7 - Seattle, WA @ Showbox SoDo

March 9 - Oakland, CA @ Fox Theater

March 10 - Los Angeles, CA @ Dolby Theatre

March 13 - Denver, CO @ The Mission Ballroom

March 15 - Austin, TX @ Emo's

March 16 - Houston, TX @ House of Blues

March 18 - Dallas, TX @ House of Blues

March 20 - Chicago, IL @ Cadillac Palace Theatre

March 21 - Nashville, TN @ CMA Theater

March 23 - Toronto, ON @ Danforth Music Hall

March 24 - Montreal, QC @ MTELUS

March 25 - Boston, MA @ Orpheum Theatre

March 27 - Washington, DC @ The Anthem

March 28 - New York, NY @ Beacon Theatre

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Most played songs.

• Somewhere Only We Know ( 756 )
• Everybody's Changing ( 745 )
• This Is the Last Time ( 726 )
• Bedshaped ( 723 )
• Bend and Break ( 692 )

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4,750 people have seen Keane live.

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The new album is set for release on 20 September and the band have also announced a series of US and UK dates.

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Keane have announced the release of their new album, Cause And Effect, for 20 September, which sees the much-acclaimed outfit returning after a five-year hiatus.

Cause And Effect , the long-awaited follow-up to Strangeland, was previewed on Thursday with the premiere of a music video for ‘The Way I Feel,’ a catchy and powerful anthem, which you can check out below.

‘The Way I Feel’ video was directed by former 10cc mainstay Kevin Godley, who previously directed the video for the band’s hit single ‘Is It Any Wonder’ and Chaplin’s solo release ‘Still Waiting’, as well as making promos for U2, Hozier and Gavin Friday.

As an official statement suggests, neither Keane as a unit nor lead singer Tom Chaplin were really expecting this burst of creativity to strike when it did:

“The birth of this new album came as something of a surprise even to the band”, the statement reads. “Singer Tom Chaplin had released two successful solo albums but missed his old sparring partner Tim Rice-Oxley. “I found myself wondering how I had come to let this very enigmatic and important relationship in my life drift,” Tom says.

“Meanwhile Tim had written an album’s worth of incredibly personal songs fuelled by humour as well as pain.  When Tom, bassist Jesse Quin and drummer Richard Hughes heard the songs, they were immediately drawn to them both sonically and lyrically.

“ Hopes and Fears was a break-up album too, but it was about a break-up when I was 19,” Rice-Oxley explains. “It’s a bit different when you’re older and you’ve got kids – your whole little world shifts on its axis.”

In addition to announcing Cause And Effect and sharing ‘The Way I Feel, Keane have announced some new tour dates, including special shows in Los Angeles and New York in the autumn of 2019. Visit the band’s official website for tickets and further information on all these dates.

Keane play the following shows:

August 6: New York, Bowery Ballroom August 12: Los Angeles, Roxy September 24: Birmingham, Symphony Hall September 25: Leicester, De Montfort Hall September 26: Manchester, Apollo September 28: London, Royal Albert Hall September 29: London, Royal Albert Hall October 1: Newcastle, City Hall October 2: Edinburgh, Usher Hall October 4: Nottingham, Royal Concert Hall October 5: Brighton, Brighton Centre October 7: Belfast, Waterfront October 8: Dublin, Olympia.

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Keane Returns: Inside The Long-Awaited Comeback & New Album, Inspired by ‘Various Romantic Disasters’

"Tim's been in a bit of a messy place," frontman Tom Chaplin half-laughs, sitting down on the couch in the Billboard office with the rest of Keane.

By Kirsten Spruch

Kirsten Spruch

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“I think we’d reached a point where a break was really natural — it was healthy to stop and do our own things for a bit,” says Rice-Oxley, who adds that he had a feeling that the band ultimately had more to say. “We make such great music together, I would’ve been really sad if we never followed that through again.”

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“I was off doing solo things, and I felt like I hadn’t seen Tim in ages,” Chaplin adds. “He’s an important person in my life, so I felt like I needed to see how he was.”

Keane’s return stems from the moment the other members — Chaplin, bassist Jesse Quin and drummer Richard Hughes — heard Rice-Oxley’s new material, which focused on looking at the same romantic struggles from different perspectives. They then discussed coming back for the right reasons, and making sure the group dynamic stayed positive, fun and creative.

The title of the new album comes from Rice-Oxley’s “marital breakup and various romantic disasters” — a phrase that has the rest of the group laughing. “When you’re 40 years old, a breakup is a big change in direction in your life,” Rice-Oxley explains.

“So much of pop music is quite simple, isn’t it?” Hughes jumps in. Since the album is driven by complex emotion, the initial goal for the regrouped band was to find something that would help condense it.

The band’s 2004 debut album, Hopes and Fears, was also a break-up album, but the members were all in their twenties when it was released, quickly becoming stars thanks to the smash single “Somewhere Only We Know.” A decade and a half later, Rice-Oxley is trying to convey a different type of woundedness on Cause and Effect .

“The reality is, you move on and your whole life is still ahead of you,” Rice-Oxley says of the band’s earlier break-up songs. “Not to say [ Hopes and Fears ] doesn’t matter — it was a very passionate album and it meant the world to us at the time. But that [feeling] is not so much the case when you’re 36. It is more complicated. To us, Cause and Effect is a much more articulate and thought-provoking version of that.”

According to Rice-Oxley, the album’s lead single, “The Way I Feel,” is a series of questions without any answers; lyrics like “And it’s the voices in your head now/ Saying there’s something wrong about the way I feel/ A broken link, a missing part, a punctured wheel,” reflect on feelings of depression. The song offers no real solutions, instead focusing on that hurt and letting the listener know that they’re not alone. “It’s normal to feel that way,” Rice-Oxley says. 

“In the U.K., it feels like there’s more of a sense of people wanting to deal with an increasing crisis in mental health,” Chaplins adds.

“There’s a sort of vulnerability to admitting you don’t have any of the answers, isn’t there? It’s not a very modern thing,” Hughes chimes in. “Everyone wants to feel like they’ve got a handle on whatever they’ve got going on — when most of the time, we don’t.”

It was also crucial for Rice-Oxley to choose every word with meticulous care. There were some lyrics he mulled over for months, wanting to get each emotion across accurately, and “The Way I Feel” resulted from an especially long writing process. The lyrics in the title were the only lyrics he had, along with a melody, and at first, he didn’t like either. Months after sitting on those parked lyrics, he revisited it with the realization that he could look at the concept from a different angle. Since the song’s June release, Keane has performed the single, as well as the new track “Love Too Much,” live at various European festivals and a handful of U.S. underplay shows.

Naturally, “Somewhere Only We Know” comes up when talking about performing certain songs live. “Along with some of our other older songs, I feel l’ve taken that one for granted,” Rice-Oxley admits of the group’s soaring debut single and signature hit, which cracked the Hot 100 chart and has been covered by Lily Allen, Kacey Musgraves and David Archuleta, among many others.

“Going back to when we were much younger, and when we were trying to get somewhere as a band, there was a great feeling of frustration,” Rice-Oxley explains. “It was written around a time when we weren’t getting anywhere and we had to move back in with our parents. We were living it up in London, and that dream felt like it was on the cusp of disappearing. That song definitely came from a place of needing sanctuary. Life can be hard and everybody needs a haven sometimes.”

“It is amazing that it’s still cherished so fondly by so many people. It feels very special,” Hughes adds. 

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“People usually see it as a love song too, right? Because of the ‘we,’” Chaplin says. “There’s a sense of the sanctuary of love and having relationships in a world that feels lonely.” 

Quin adds, “People love to find something really simple, too. You know, the song ‘Girls Just Wanna Have Fun,’ what can be more simple than that? … ‘Somewhere Only We Know’ is like that. People can put their own imprint on it.”

“So yeah, ‘Somewhere Only We Know’ is our version of ‘Girls Just Wanna Have Fun,’” Hughes concludes as the whole group chuckles. 

The band is gearing up for the album release, as well as embarking on a tour that will take them through next year, but they’re trying to take things slow, savor every moment and continue with intent. 

“When you’re younger, everything’s about moving forward and finding what’s next, purely driven by ambition,” Chaplin says. “I think if the time we’ve had teaches anything, it’s being able to reflect.”

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Keane Cause and Effect Tour

• By: Steve Jennings (Photos and Text)
• Designer Insights , June 2020
• June 4, 2020

A sheet of light illuminates the band. KEANE © Steve Jennings

We caught Keane, the English rock band, on the North American leg of their Cause and Effect tour, in support of the band’s fifth studio album of the same name released last fall. Starting with their debut album — the second best-selling British album in 2004 — they continue to have top-charting albums and singles. We spoke with production and lighting designer Louisa Smurthwaite and lighting programmer/director Steve Heywood about the design for the 2020 North American tour leg. Originally slated from March 5-28, had to be cut short after their fifth show, at the Dolby Theatre in Los Angeles, on March 10, due to Covid-19.

Martin MAC Auras provide the side beams. KEANE © Steve Jennings

Louisa Smurthwaite Production and Lighting Designer

As Keane’s production and lighting designer, Louisa Smurthwaite says she was lucky enough to operate the last shows the band did for longtime designer Rob Sinclair before the band took a break in music. It was a worldwide live stream from a closed cinema in Berlin. The band was aware it was the first time she had operated for them. “The show went really well, and feedback from the tour manager (then Colin Davies) was that the band felt everything was on point and liked what I had done. It was after that that I was asked to light [lead singer] Tom Chaplin’s solo tours” in support of his solo albums, The Wave (2016) and Twelve Tales of Christmas (2017). “It naturally progressed from there to the current band’s Cause and Effect tour.”

KEANE © Steve Jennings

Smurthwaite loved theater from childhood. She was always the person that lit youth theater shows, and got her start in the industry at age 18. She started as a theater technician at Battersea Arts Centre in London, a venue that welcomed a mixed community of talented in-house producers and incoming productions. “I learned a lot from incoming designers there, and I also got to light shows and work with directors from a young age.

“With the folly of youth, I wanted a ‘more exciting’ way of life, [and] the next few years I worked for White Light Ltd and then LCI Productions, where I learned laser programming and projection skills. This is where I first stepped onto a tour bus, as a laser tech for Grace Jones on her 2008 album tour, Hurricane .

“Over the years, I ended up doing lasers, running cameras and lighting shows for her. In the early days, the combo of lasers and lighting made me attractive to smaller bands, as I could program both — it saved them money and made it possible. Having worked with lights, lasers and video, I naturally had an eye for balance between mediums to make cohesive ‘whole’ shows without one element stomping on others.”

Opposing side light adds visual drama. KEANE © Steve Jennings

After 10 years on the road working as a lighting designer, director and programmer, Smurthwaite just finished a year at art school, where she says she wanted to develop a practice rooted more in art and design. She has since gone on as LD (to name a few) for Sam Smith’s The Thrill of it All tour, designed by Tim Routledge; Glass Animals’ How To Be a Human Being tour, Rag‘n’Bone Man’s Human tour and Florence + The Machine’s How Big tour, where she working again with LD Rob Sinclair.

Smurthwaite had two meetings with the band, tour manager Mark Dempsey and also Beth Warren and Adam Tudhope from Everybody’s Management. “We spoke about things that were important to them. The album artwork was still being developed — I’d only seen a few paper textures from the artwork, and Tim [Rice-Oxley, Keane keyboardist/singer/songwriter] talked about how he was excited by simple block color.

“I went away and thought about the best way to use color to its true effectiveness, and it felt right to give them a blank canvas — this was really the basis of the show. We could paint anything on that canvas with abundance. As the album artwork completed and we all saw the warmth of the paper textures, it was then I spoke to Jack James at RCM, who made the content (for the U.K. run). We recreated with a new twist, some of the old artwork the band had.

X4 Bar 20 fixtures throw shafts of light. KEANE © Steve Jennings

“Some of my favorite moments in the show are the stop animation style recreations of the artwork from past tours. I had drawn a set that was essentially a stage within a stage; it illuminated from beneath the band. It had some custom-made light boxes behind the band, and beyond that, it had the blank canvas far upstage, so it was really becoming something you could shift between perspectives with lots of depth play. It was a new band layout for the guys, which they took to really well. Tom [Chaplin, singer/songwriter] and Jesse [Quin, bassist, multi-instrumentalists, vocals] really used the height and width of it to make some exciting interactions between them all.”

Planning looks for songs with bold color, Smurthwaite went back and drew inspiration from some “true masters” — the late artist/educator Josef Albers (for Smurthwaite’s palettes of color) and James Turrell, of Roden Crater fame, for her sense of depth, light and form. “I really liked the mix of rock-show- cum- art-installation. I actually wanted to use a lot more front light in the show; it was due to budget with labor costs to not take a front truss everywhere.

“The things I wanted to play with relied so much on color temperatures. We couldn’t really rely on the different in-house rigs, so we went with side lights for lots of illumination of the band,” she says (with apologies to monitor engineer Ralph Smart). “Lighting the set pieces, I really needed fixtures with consistent good mixing, and lots of the same thing. So many thanks to the lovely teams at GLP and Martin lighting. They’re always on hand if we need any help. The only fixtures I ‘had’ to use, due to dimensions of the stage, were the Color Force II by Chroma-Q, and I was really impressed with the brightness and mixing on them.”

Smurthwaite first met Steve Heywood when he was the venue tech in the Oxford Academy. They both used the same desk back then and knew some of the same people, so it was good to bond. “He took over the Glass Animals tour from me a year or so later, when I needed a break from touring. He did a brilliant job. He was the person that I really trusted to take my words and make them into cues and execute those cues with metronomic steadfastness. The Keane members ended up nicknaming him ‘Steed’ rather than Steve,” alluding, no doubt, to the unflappable gent in the British TV series, The Avengers .

“We spent a week or so in visualization at Christie Lites in Coventry. I really like to have all the cues nailed before we even see lights in the production period. I spent three shows adjusting things, then left it to him. I could change things forever, so I’m sure he was pleased I left. I’d like to thank the band — Tim, Tom, Richard and Jesse — for letting me shine lights in their eyes. Beth and Adam for trusting me. Mark [Dempsey, TM], Simon [Hall, PM] and Steve [Heywood] for making it happen. As well as Mat [Ilot] at Christie Lites, [and] all at Hangman, for the scenic elements, and the team at RCM for the content. Oh, and my dog, for being at rehearsals and making everyone smile.”

Steve Heywood Lighting Programmer/Director

Steve Heywood was approached by Louisa Smurthwaite last year about the lighting director and programmer role. They had previously worked together on pop band Glass Animals, then Heywood took a short gap from touring after the birth of his second child. “It was timed really well, to get back into it and work with Louisa again,” he says.

For the Keane tour, Heywood had been using the Vista by Chroma-Q S1 console, which both he and Smurthwaite have used for quite a while. “It’s what she had programmed Glass Animals on, and it’s my ‘go to’ desk on most jobs. Just before we started Keane, Louisa had been on the grandMA for Sam Smith, another desk I know well. We discussed which one to use and decided in the short time frame we had before the initial festival shows that we could get the most out of the Vista.

“People always seem surprised when it turns up at FOH, and it’s always nice to be able to show them around it,” Heywood adds. “The programming flow is excellent and lends itself to very quick, yet precise work, both initially creating the show and updating while on the road. Features such as the ‘Alias Cue,’ where copied cues update each other if further changes are made; and the timeline feature, for quick-yet-complicated offsets, really help with this. The FX engine is also very versatile, allowing the creation of very dynamic looks. Finally, I really enjoy the visual layout of fixtures. Once you move away from a number of a fixture and into just a tap to select, I find I can spend more time looking up at the rig than down at the desk.”

Heywood has spent more time as a lighting director than programmer. On lots of the other tours he’s been on, he’s taken over when it was already on the road. “I really enjoy both roles — the problem-solving of programming and the creativity as a lighting director — and I also enjoy seeing a show through another designer’s eyes. The first mock-ups I did in WYSIWYG after Louisa sent me the plot look very different from where we are now, and when the band adds a new track, which they often do. I have to think, ‘How would Louisa light this?’ There is no time-code or triggers on the show. It would be achievable, as the band are on a click, but there is a large pool of songs they like to choose from,” he adds, noting that this tour is for their fifth studio album, and adding that there have been nine Eps and B-sides that have been released. “And we had 10 days initially to get the show up and running. This way, we could spend more time on the ‘design’ and less on the ‘programming.’ I have a musical background and enjoy running a show live with all the nuances that can be added as is needed. Now we’re into the flow of it, and most of the show is second nature. I enjoy being at FOH, seeing the result of every button push.”

Heywood is using GLP X4 Bar 20’s, JDC1’s and Martin MAC Aura XB’s among his lighting fixture package, and says there is a good reason why all of them are a staple of so many shows at the moment. “We have four rows of X4 Bars at the back of the stage (two flown and two on the ground) giving both light curtain and cyc effects, and it has been good fun playing with those, especially on the cyc, to find new things to do with them. Just when you think you’ve done all there is, I’ll sit down one day and find something else. We have our JDC1’s on their side at the bottom of the light poles either side of stage. This means we can tilt them up and down stage. They make a terrific flat wash and some great shadow play. There’s a few moments in the show where they are the only lights on. The Color Forces light the front of the drum riser and pack a great punch. For most of the show, they are at quite a minimal level, and then can smash when needed. The strobe options on these make for some nice effects, and they have a lovely dimming curve at the low end, keeping the same color all the way to off position.

“Mat [Ilot] and Christie Lites have been great to work with, allowing us to take over office space and providing us superb crew throughout the tours. It has been a great few months on Keane. The Oakland show PLSN covered was unfortunately the second-to-last before the U.S. tour was cut short due to Coronavirus. I am lucky to be working for a band and management who have continually looked out for the crew through the whole time I’ve been with them and continue to do so now. I look forward to getting back together with everyone soon to continue where we left off, and wish everyone in the industry well at this trying time.”

Christie Lites provided the fixtures. KEANE © Steve Jennings

• Production & Lighting Designer: Louisa Smurthwaite
• Lighting Programmer/Director: Steve Heywood
• Lighting Co: Christie Lites
• Crew Chief: James Poepping (U.S.) Mike Sanchez (U.K./EU)
• Lighting Tech: John Hetherton (U.K.)
• Tour Manager: Mark Dempsey
• Production & Stage Manager: Simon Hall
• Christie Lites Rep: Mat Ilot
• Content: Jack James/RCM
• Staging: Metalman
• Drapes: Hangman
• Trucking: Stage Call (U.S.)/Fly By Nite (U.K./EU)

Gear U.S. Tour:

• 1       Vista By Chroma-Q S1; 2 M1+backup consoles
• 40     GLP X4 Bar 20’s
• 8       GLP JDC1’s
• 24     Martin MAC Aura XB’s
• 8       Martin MAC III Profiles
• 6       Martin MAC 700 Spots
• 12     Claypaky B-Eye K10’s
• 4       Claypaky Sharpys
• 3       Chroma-Q Color Force 72’s
• 3       Chroma-Q Color Force 12’s
• 12     Chauvet Strike 1’s
• 2       Half mirror balls
• 2       ReelFX DF-50 hazers
• 2       Look Solution Unique hazers

More Keane Cause and Effect 2020 tour photos by Steve Jennings: 

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Bring the whole family & join in the Foundation Room dining room for your official pre-show fuel. Reservations are encouraged. Book your tables here ! Our dining room is open Thursday-Saturday at 6PM.

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Cause and Effect (Deluxe)

Keane’s fifth studio album Cause and Effect is based on two key life moments: a marriage breakup and a night of drinking that resulted in a car accident and DUI arrest. Both happened to Keane songwriter and keyboardist Tim Rice-Oxley. As is Keane’s way, the intimate, if painful, memories (and residual lessons learned) blossom into something transformational and triumphant. But, as he notes, putting such personal and vulnerable moments out in the open is a little easier when you have one of the greatest Britpop singers, Tom Chaplin, interpreting your words. “There's no one else I would trust with that information and those songs that are so important to me,” Rice-Oxley tells Apple Music. “For me, it's a real pleasure to hear him take that raw material and make it into something heavenly.” Rice-Oxley took Apple Music through Cause and Effect track by track. You’re Not Home “It's about the feeling of being in an empty house that used to feel much more like a home, and how terrifying that can be. We wanted to really create an atmosphere with it. David Kosten, who produced the record, was referencing Björk and Peter Gabriel. It starts with atmospheric leaps that almost appear random, like a collision of stars. It gives you an interesting contrast. It just builds and builds, then you have a huge drop that's like an emotional outpouring. By the time you get to the end of that song, you've been on an emotional rollercoaster—and it's only the first track. We wanted to turn people on to the drama of the record.” Love Too Much “That's one of the most pop-influenced songs on the record. I was listening to a lot of Taylor Swift, Dua Lipa, and Ariana Grande, thinking a lot about that groove, but also about the rhythm of the piece. I wrote it early one morning and thought it obviously was pretty catchy. I wanted it to feel meaningful, not be this throwaway thing. I was trying to write about how romance can be really intense. Sometimes it gets so intense that it destroys itself. Like all the songs on this record, it's a little look at some aspect of the journey that I've been on in the last seven years since my marriage broke down. I think it's something that a lot of people can relate to. When you feel stuff that intensely, it can leave you feeling totally disoriented and lost when it goes away. The truth is, that experience enriches your life in a way that you're never going to lose. It's really important to hang on to that sometimes.” The Way I Feel “A real favorite of ours. I wanted to gather some of the psychological stuff that comes from life taking a left turn. Like, ‘I just want to be normal. I just want to be the same as everyone else and know why I feel this way about love, or about myself, or about anything.’ The message of the song is very sympathetic and trying to say that everybody has shit going on. The way you feel is the way you feel. That's totally valid. I think it's really important for people to hear that and try and understand that about ourselves and about each other.” Put the Radio On We really spent a lot of time thinking about the journey of the album. It's not chronological, but it's almost psychological. For me, ‘Put the Radio On,’ ‘Strange Room,’ and ‘Stupid Things’ are a trio of songs that tell little stories about me and about my relationship. ‘Put the Radio On” is almost like a jam, this hypnotic, cyclical groove. The first three minutes of the song has only one chord in it, which is the very opposite of a melodic key approach. It's basically about illicit sex, like getting sucked into a moat that you know is a battle, but you'll slide down into it. You can't stop yourself, and it's about the beauty and darkness in it. The second half of the song is more romantic, just reveling in the genius of those moments in life.” Strange Room “A very romantic song. I had this really lovely group of friends down in Sussex where I live in the UK. We'd get together at my apartment and sing songs together. That was a really important support network for me after I was first on my own. Then the landlord of a local pub had to move away. On the night of his leaving party at the pub, I drank way too much. I stupidly, stupidly drove my car and crashed into a ditch just up the road. I got arrested and spent a few hours in a prison cell. I was just like, 'Holy shit. How'd this happen? What am I doing? This is not me at all.' It's a gentle and sympathetic way of expressing what can happen in someone's mind to lead them to make terrible decisions. It's a really crucial song on the album, not least because it was the one that Tom really latched onto.” Stupid Things “’Stupid Things’ is quite unusual for Keane—a storytelling song. Partly, it relates to my own experiences. I'd just gone off the rails. I loved the idea of telling it, trying to imagine this basically normal everyman sort of a character. He's working in the city in London. I imagine him going for one harmless after-work drink. That becomes one more drink. Then, you meet someone, and things spiral out of control. Before you know, you've gone from being a wholesome, honest person who has total control of your life to creating this web of chaos for yourself. It's so easy to do that. People do it all the time. We dig these holes for ourselves, from which it can be hard to recover. The chorus is like a litany of mistakes, but the verse is trying to express how easy it is to do that. Just because you start to earn some money, that doesn't suddenly make you a different person or a better person. You're just the same old person as vulnerable as anyone else.” Phases “It's a new section of the record. All this happened and all these things go wrong. Then I feel like ‘Phases’ is an introduction. Like, ‘This is a human experience. It's okay if life doesn't go the way you planned it when you were 22.’ I find that really hard to accept, even now. You think you’ve made a plan for your life. The truth is it rarely works out that way. It's fine to say, ‘Okay, that was that, one door's closed and another one opens.’ It's a really hopeful song, a bit like the way I feel. It's like trying to pick myself up and hopefully have that effect on other people.” I’m Not Leaving “A love song to my daughters. Just trying to say that I'm always here. I was imagining them as teenagers and them discovering the more brutal side of life, like heartbreak and drinking too much. Maybe they’ll start to make mistakes that matter, experiencing a little bit of hardness of life. It's just a way of saying, ‘Dad’s always here, whatever happens.’” Thread “I was just trying to describe how delicately balanced a marriage can be. I totally thought I would be with my wife forever. I was trying to say, ‘I found myself in this place where I felt like I was hanging by a thread, and things were so delicately balanced.’ It's about how precious these things are and how easily they can slip away.” Chase the Night Away “It's a much more positive song. It's about the future. It's about new love and how it's difficult to start again from that place, especially as you get older. It's not like being 21, where it's one relationship to another. You're looking for that right person and planning your future. When you're in your forties and you're starting again, it's different, it's complicated. There's still beauty there, and there's still possibility. I wrote those songs to someone that I've met and was trying to say, ‘There's hope. Thank you for showing me the light as well as the shade.’" I Need Your Love “That was written in a time of desperation. It's a very Lennon-Springsteen anthemic love song. I think the aches of desperation that you feel in the lyrics, it's almost humiliating. It's almost like that, ‘I'll do anything to make things right, I'll humiliate myself to make you happy,’ which is not a healthy way to live. The album ends with that quite nuanced look at relationships. The whole album is a breakup album. We didn't want it to have an easy resolution. I love that we're all singing together on it by the end, much like a chant, a mantra of needing that love. It’s very meaningful to us and hopefully to people who hear it.”

September 20, 2019 16 Songs, 1 hour, 5 minutes An Island Records Release; ℗ 2019 Universal Music Operations Limited

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Keane – Celebrating 20 Years Of Hopes And Fears

The Sherlocks

Tour update: keane is releasing a new album, 'cause and effect'.

English rockers Keane are back on the road and in the studio after a 6-year hiatus. Hint: New music is coming!

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Keane - Cause and Effect

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Cause and Effect

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