Speaker 1: 0:02

Welcome to this new episode of Before the Applause with me, your host, david Watson. In this episode I talk to Emma Noel, a true leading lady, now shining her light on everyone else and helping to bring people together through singing. We explore her journey from a child that's deep to music and her experiences in the creative industries, including her time at drama school, then becoming a Western leading lady, being part of the UK entry for Eurovision, a working film actress and taking a role in the infamous group High Five, to now being choir director of one of the most successful and inspiring choirs around Pop Vox Choir. We discussed the highs and lows of creative careers and she emphasises the importance of resilience and finding community in the arts and the need to be truly adaptable and how to navigate a portfolio career, but importantly pursuing one's passion. She reflects on the importance of embracing change and the unexpected emotional connections formed through performance, and talks about why everyone should be united by music. Grab a cup of something nice and join us as we discover more. Before the applause Welcome to the show.

Speaker 2: 1:13

Hello, thank you for having me.

Speaker 1: 1:16

Pleasure, tried to get you on last season when I was doing my pilot season and we're busy, and then I finally got you onto this season and we're recording this at a really special time for us both, because it's close to when we met, I know, when we worked on a really important project for Eurovision. So this is why I'm like, oh my god, the time has just worked out yeah, yeah, I was looking back at all the dates.

Speaker 2: 1:39

It is it's literally. It was at yeah, 13th of May.

Speaker 1: 1:42

Yeah it's, it's crazy and I think maybe at this point I can't remember you thinking I was actually bonkers or we were actually rehearsing. At this point I can't remember.

Speaker 2: 1:51

I think probably the other way around. You were like oh god, she's a bit bonkers.

Speaker 1: 1:55

I was like my god. She said, yeah, and she's up to do my crazy ideas and we'll come on to her what that crazy idea was and actually why we connected. And there's not many people that share my energy because I've got a lot of it and I don't. I don't dim my own light, I'm not letting anyone do it. And, yes, I met you and I'm like my god here we go, there's another human.

Speaker 1: 2:16

It's got my energy and a crazy idea came up for Eurovision around a musical flash mob type thing, and I remember dropping you a no, you said yeah and you went with it, and then I think that's why we've become buddies since. So I'm really excited to have this conversation with you, to learn more, share your journey with other people and to talk about some of the extraordinary things that you do, which I don't think you get enough credit for, and also, for those that are listening, get maybe get some tips about taking chances, exploring the creative industries and finding that fulfillment. So, again, thank you very much. I'm excited.

Speaker 2: 2:54

I'm so excited. I'm a little bit nervous, I'm not gonna lie. What are you nervous for? Love? Just just you and I. It's just you and I.

Speaker 1: 3:03

Right it's just us and you're the professional, you're the professional um, so I thought let's start by going back to little Emma okay, so what was little, what was little. Emma like.

Speaker 2: 3:15

I mean, I'm still little David, let's be honest.

Speaker 1: 3:17

I try to grow, but I'm still five foot two, you know all good things come in small packages is what my mum used to tell me because my mom's similar height, so she used to say that to me, but when I'm talking like young Emma growing up, what? What was that like in your childhood? Has music, performance, creativity always been there, or did it just come by chance for a random encounter?

Speaker 2: 3:42

oh, it's, it's always been there. So my dad is a rock guitarist. Sunday mornings we'd never get a line and it would be band practice and they'd be, absolutely, you know, riffing up the guitars and literally that's how I've grown up, basically, so, yeah, and then obviously singing and music throughout my family. Always, you know, any celebration there'd be a sing-along. Yeah, it's been part of my journey from a child. And then I went into amateur dramatics Gosh, in fact, my first show was I was 11.

Speaker 2: 4:19

This definitely isn't musical theatre and I played Helen Keller. That was my first ever show, um, which was amazing and such a challenge for a child as well, you know to to to play that role. And then I got, I got the book. Basically I got the book for it, um, and and off I went. So, yeah, then went, I joined uh, theatre, amateur dramatics, and then never necessarily wanted to pursue it professionally. I think I did it for the love and the enjoyment first and foremost. But then I got into drama school and then it all changed. Basically, yeah, so I went to Lipper.

Speaker 2: 5:03

Yeah, 360, got into it, got hooked, 100%, 100% and I never looked back. You know I've been very, very fortunate to work within, you know, the creative arts for 20 odd years now.

Speaker 1: 5:17

Gosh, oh my God, I feel so old. This is literally the recurring theme on this podcast.

Speaker 2: 5:21

We're all talking, we all talk about dates and we're like let's look back and we're like, god, we're actually old, but we're not, we're not old, I think now it's like 90, like 90, yeah, yeah, and collectively, if we're all saying that we can pick, we can be like no, we're fine, we're fine, we're young, we're young so tell me about Lipper.

Speaker 1: 5:43

So was it the only school that you auditioned for? And then, when you got in, what was that experience like and what did you focus on?

Speaker 2: 5:49

yeah, so it was the only drama school I auditioned for boom.

Speaker 2: 5:53

I mean, yeah, boom, and then got in unconditional offer, um, so I was like, wow, this is actually happening. And then so it was a straight BA acting role degree, sorry, degree course. So yeah, I didn't go down the vocal route at all, which was quite interesting because at that time I was in a duo. I was going around pubs and clubs, I was gigging, I was in you know, british legions workmen clubs, you know that type of thing. So I was. I was in you know, british Legions Worker Men Clubs, you know that type of thing. So I was. I was singing week in, week out, but then I was I was, you know, doing my degree course in in a straight BA acting. So, yeah, it was the best time.

Speaker 2: 6:35

Honestly, we just had a, because I jumped into this Lippa was fairly it was fairly new, I suppose, looking back and so there were only, there were only 30 students per class, there were only, I think, three or four courses, so it felt, you know, it was a real family. We were very, very, um, you know, um, gosh, yeah, we were just really tight, everybody that went there. It was a really, really special time in my life really. And and then from there again, I think I was doing it and I was like, oh yeah, I'm going to do this, I'm going to do this. And then I did my showcase and I got an agent and then, oh yes, oh yeah, I am going into this world.

Speaker 1: 7:16

So you know full speed, emma, just go, it's just going with it yeah, I was literally like right, okay, this is happening.

Speaker 2: 7:22

Oh, okay, I thought I was going to be a lawyer. Okay, never mind.

Speaker 1: 7:27

I think that does happen quite a lot. You know we pick a focus and then things happen around it, but that's also about some of the tips that I give to people that want to be in the career is actually being open-minded and going with it, seeing what happens and refine it, and often that's where you just get the most excitement and fulfillment from really absolutely and what was that course like? Was it fulfilling? Did you enjoy it? Was there anything you didn't particularly like about it?

Speaker 2: 7:52

I absolutely loved it. Um I I nearly got kicked out um because I I got. My first job was Eurovision, so I nearly nearly got a go which ties into it all.

Speaker 2: 8:04

I remember thinking in my second year this opportunity came along to be a backing singer for, for um, our Eurovision entry, which I'm sure we'll get onto, and they wouldn't let me go. And I and I remember thinking, but this is what I'm training for, surely this is what I'm training for, so I feel like it. I feel like that's one part of it I just didn't quite understand.

Speaker 2: 8:28

Like we were training, we were training and then I got an opportunity and I literally nearly got kicked out for taking it, because I think it made me grow up really drama school and making those choices and being like, no, this is actually what I want to do. So I think, yeah, five foot, five foot one. Emma then probably yeah, just decided, no, she was going to do this gig, whether she got kicked out or not, and thank God they kept me in. But yeah, I mean in terms of the courses, obviously doing Shakespeare, it opened my eyes really and you know that's where you know we all honed our craft really and experimented and, you know, just pushed our limits with our creativity and yeah, it was a really, really special time.

Speaker 1: 9:13

We're in the zone of my follow up question. Which is fabulous is what was the first job? So tell us about this controversial job, but fabulous job, obviously. Give us the lowdown, give us the dirt. What was it like?

Speaker 2: 9:27

So my first job. I feel like I'm giggling too much for this. You might have to edit out my laughter.

Speaker 1: 9:33

No, it's good.

Speaker 2: 9:34

My first job was Eurovision 2003. Oh goodness me, with Gemini, when we got Nilpua, but I am just going to caveat that with that, it was the best. Oh, it's amazing. It was amazing. If you can imagine 19 years old, you know, doing Top of the Pops, flying to Latvia, working with the BBC on the most gigantic stage. Still to this day, on the most gigantic stage, still to this day. I have never been on a stage that big in my life. It was huge.

Speaker 2: 10:09

And obviously, in 2003, it was all little lights, you know where you should stand. I was such, oh, my goodness, it was just mind blowing. Honestly, honestly, you know, and, um, it was, it was a, it was a, a learning curve, for sure. Um, especially obviously with nilpois, and then, obviously, with all the highs, came all the lows as well.

Speaker 2: 10:35

Um, I remember we had, oh, just an absolutely insane, never mind doing eurovision, and oh, it was just, yeah, just even the rehearsals, it was just an absolute whirlwind. And then the after show, I, and it was just, yeah, just even the rehearsals, it was just an absolute whirlwind. And then the after show, it was just bananas, it was absolutely bananas. Like I remember being in this huge arena with a swimming pool with models dressed as birds walking around while we all had a party. And I remember being in like a bumper boat that was a swan in the after show, like never mind doing Eurovision, it was just everything around. It was crazy. And then we came back to Heathrow and then obviously the tabloids were all there and just trying to get Gemma and Chris through that as well because we'd come. You know, we've made really good friends.

Speaker 1: 11:21

But then I went back to drama school good friends, but then I went back to drama school. It's such an example of the beauty and bonkersness of your vision in a way, yes yeah, just the way you even got it, the little argument to even try and do it, then it was absolutely weird. And you find yourself in this weird party yes, with water and models, and then you land back down and then you're like oh, I'm going back to drama school.

Speaker 2: 11:43

Yeah, yeah, absolutely yeah, and you know what. So when I went back, one of my tutors came out and he ran over to me with the Guardian newspaper and he was like Emma, emma, he was laughing his head off. He was like they think you're Gemma, they think you're Gemma, they think you're Gemma, they think you're Gemma. And it was my face on the front of the Guardian, rather than Gemma and Chris being like Neil. What I was like? Oh, my goodness me, it was just, it was fabulous. It was fabulous, if you can imagine, as, yeah, a 19-year-old just done local theatre, amateur dramatics and then getting thrown into Eurovision and Eurovision even in 2003,. I feel like now Eurovision here has caught up to where it was, you know, in Europe in 2003. It was huge, it was incredible. In Latvia, it was yeah, well, look, I've still got the energy over it all. I just it was a. It was incredible. In Latvia, it was, um, yeah, well, look, I've still got the energy over it all.

Speaker 1: 12:47

I just it was a moment, moment in time right, no, and and that's a really important thing, and you know you were part of a machine yes yeah, that's just what it is and this is how we create and you know, a lot of people dream of doing these things. It's quite a fast-paced, intense thing to be part of, even if you're not the front person yes, yeah it's all coordinated.

Speaker 1: 13:10

There are highs and lows, and it's really nice to hear that you still are excited about what has happened, because a lot of people aren't. Um, and it's such an enriching experience you know you, and I truly believe that set you on to do all these other things. I just wondered, when you landed at Heathrow, what was going through your head when you came home.

Speaker 2: 13:31

I just wanted to stay with the gang. If I'm honest, I wanted to. We'd made really good friends. I wanted to stay with Chris and Gemma and the other singers. I wanted to help them tell their story of what happened.

Speaker 2: 13:46

And you know, I, and like you, say like it was a machine, but then it stopped. It stopped for me, I was just a hired gun at the end of the day, and you know, so off I went. But you know, there's a, there was a lot of love and there still is a lot of love. So I, I, I caught up with them, obviously when we, um, we also did a Eurovision event a few years ago, and so I caught up then. And, and you know, um, so Martin Isherwood, who was a, he's the head of music still now possibly oh, I'd have to check that um, so he uh wrote Cry Baby. So I, I saw him as well. You know there's a lot of it's memories good, bad, ugly and fabulous all rolled into one. You know, um, it was and, and we'll never forget it, we'll never forget it.

Speaker 1: 14:23

It was an amazing time neither should we, and the reason why I'm I'm pushing you on that is because I'm trying to use this podcast to give people a reality check of what it is actually like in the creative industry. Yeah, it isn't. We go, this is what we're going to do and it works out and it's all the praise. You do have highs and lows, and this is why people talk about and it's such a it frustrates me the word resilience because it suggest we're weak people. But that's not what.

Speaker 1: 14:51

When people use that about tips, about what you need in the industry no matter whether it's dance, music, tv, acting, gaming it comes with highs and lows and curveballs that you literally just don't think it's going to happen, and those times when they're low you can learn probably more than actually when the success, because the adrenaline is going to be fair. Most people that have lots of adrenaline don't remember the detail of those moments, right? Yeah, so that's kind of why I'm at. I was pushing and get and exploring this idea of the lows, because then it actually, you know, fires. You want to do a lot more and unfortunately, you probably will have more lows than you will highs.

Speaker 2: 15:30

That's just the way it is oh, absolutely yeah, for every high there's three lows, you know a hundred percent. That is. That is the industry, and resilience is key. I yeah, I mean, I've obviously been reflecting before coming on this podcast, and there have been, there have been a fair few times where I've been like, right, okay, dust myself off, let's go again, let's go again, let's go again and I think that's that's the performer in me as well, though I think you know it's like right, okay, well, what's next? Well, how can I solve this? How am I going to go? How am I going to? How am I going to do this again? How am I going to go forward? How am I going to grow? How am I going to develop?

Speaker 1: 16:06

you know, and that's interestingly what the whole point of going to train prepares you for. You don't know it in the moment when they're trying to discipline you and we're like no, we're going out, I'm doing your revision.

Speaker 2: 16:18

No, I'm doing this.

Speaker 1: 16:21

Apart from all the technique that we get from training, actually a lot of that stuff that teachers are trying to give you is that equipment to be able to handle the scenarios that you're in, that equipment to be able to handle the scenarios that you read? I mean, often we all, we resist and push back in the moment, but actually we draw on that in later life and when we're moving forward. And you've had, you've been on such a brilliant, inspiring journey, you've done so much. You know you're a wicked performer, I know I've seen you do it, um, you've done high five. You, you, you are the director of, I think I I know I'm biased what are the best choirs? And it and it's more than a choir, it's, it's a, an emotional connector for community that uses the mechanism of singing together. And your industry experience added to that means it's not just a choir. It's about composition, about let's be clear epic arrangement, because you can arrange, girl, you can arrange oh gosh, you are being so kind.

Speaker 2: 17:26

Thank you, this is so lovely. I feel a bit embarrassed.

Speaker 1: 17:28

I'm like no, no, it's true. It's true and know, and you haven't got to take my word for it. The reality is is the success that you have is because of what you've done, and that's kind of my summary of what you're doing and what you have done. I want to give you the opportunity to describe to listeners like what are you doing now, what's your role and what are some of the highlights in your career that you've done okay, so I'll start with Popbox Choir.

Speaker 2: 17:55

Yeah, so I launched Popbox Choir in 2011. It is a community adult pop choir. Members come each week to rehearse for various events and performances and from 2011 to where we are now, I I've made it a franchise. I've got several branches now across the well Northwest. I used to have two in London. We didn't get them through COVID, unfortunately.

Speaker 2: 18:22

It's been a bumpy old time, you know, since the launch, but nevertheless, I'm singing for my supper still and I'm still going. So, yeah, so I, I write the curriculum, if you like, for pop box, so I do all the arrangements. I then roll that out to our choir leaders or franchisees and then they teach at the branch. Then we all come together, we and we, we do gosh a whole host of performances. You know, and, and, and I literally I mean even this year, from the start of the year till now. I'm literally like, wow. The other day, we were working with the English National Opera at Bury FC. I was literally like what am I doing now? But this is amazing, let's just go, let's just keep doing this. And being a choir director is, oh, it's just so fulfilling. It really is. I just absolutely love it. Love it. I'm using my skillset.

Speaker 2: 19:19

I'm also I've always wanted to have my own business. If I'm honest, david, I, you know, even when I was early twenties, when I was living in London, I had a Saturday drama school. You know, when I lived up here I had a drama school on the Wirral just a little, you know, amateur dramatic. So I always knew I wanted to do, I wanted to have something of you know, my own, I wanted my own business. Pop Fox is. It is more than a choir and you're so kind. What you've just said. I feel really embarrassed because I never, I never really go under the spotlight. It's all about the choir.

Speaker 1: 19:56

It's all about the choir members, you know but this is the whole point why I asked you on but I am, I know, I know it's, I love that.

Speaker 2: 20:04

That's so kind. But also, pop vox is is what it is, because of the community, because of the friendships and yes, you know, I've got the passion there behind to drive it and push it. But it is where it is because of those individuals, really, for those individuals believing in me as well, literally being like come on, em, what are we doing? I'm like, right, we're going on tour. They're like excellent, right, em, what, yeah, what are we doing? I'm like we're going on tour. They're like excellent, right, and what, yeah, what are we doing? I'm like we're gonna get into the charts, are we? Yeah, okay, and we did. You know that's a yeah, it's another story.

Speaker 1: 20:39

You know, like it's just but that's what they want, and I think this is why conversation was important to have with you is because it is more than a choir. You, you are, I feel like an entrepreneur, and when people go Emma, can we do this idea? You go, yeah.

Speaker 2: 20:58

Yeah, yeah.

Speaker 1: 20:59

You know. So you're like I'm going to go try and do Christmas track. I'm like Emma, you're not Simon Cowell, but good on you, girl.

Speaker 2: 21:08

And then we do it.

Speaker 1: 21:11

And it works. But also your choir is like it is for the community, but it's also really well ran and you go into really unusual places to give people great opportunities, which is a really important thing because that's what they want. But actually the way you bring people in, so it's really diverse. It's so and Jesus Lord, I know it there's hundreds of them trying to squeeze them into a building, but it is a really different type of experience to be part of and to then witness. So the entrepreneurial thing comes through and for me, it makes total sense. For me, when you start looking at your journey and your your go-get I'm going to try Eurovision, I'm going to do high five, I'm going to perform. And this idea that you go, I'm always going to try Eurovision, I'm going to do high five, I'm going to perform and this idea that you go, I'm always going to have my little small business, it kind of makes sense and maybe maybe it didn't make sense to you until you got there, but it totally makes sense to everybody else.

Speaker 1: 22:02

I'm so glad it does, it does, and what about? Um? So what are? Some talk about some of the things that you've done, because they are pretty iconic as well, and I know you're being modest.

Speaker 2: 22:15

Before Popbox yeah, yeah.

Speaker 2: 22:17

Okay, well, I mean, I think when I came out of Lipper you get your agent and they've just put you up, obviously, for whatever they think you're suitable for. So I started off going down the Brit flick type of avenue. So I was in some really gritty films, so Rolling with the Nines, rise of the Foot Soldier, with the Gilby brothers, and so all of a sudden I was like, right, okay, so we're going to go down, we're going to try and do like well, in my eyes I was like I'm going to try and be Sienna Miller. I was like let's try and get down that route type of thing. You know, it was that type of vibe. And then, but all, all alongside this, I'm still gigging, I'm still working, you know, singing away in pubs and clubs. I was doing session singing for EMI and stuff, lots of bits and bobs vocally, still almost behind the scenes.

Speaker 2: 23:14

you know, like outside of, of pushing for an acting career first and foremost. And then I got in the West End. So then I got Blood Brothers, um, which was just amazing. You know, dream come true for any scouser to get into Blood Brothers, it was absolutely incredible. So I was the understudy on tour and then in town as well, and then got the lead, or one of the leads. I got Linda, which was just. I was like oh, I'm done. Now that's great, brilliant, excellent, I can retire, I've ticked the box. Great, I mean, I don't think I don't think I'll ever say that, but it was.

Speaker 2: 23:56

You know, if there was one role I could do as an actress, I was literally like, well, linda and Blood Brothers, like absolutely. And then I saw an audition in the stage.

Speaker 1: 24:07

I loved, I love. It's the stage and it's clearly the newspaper yeah, it was.

Speaker 2: 24:12

Yeah, of course, of course, it was the physical newspaper, the stage, oh my gosh, um that's what it was all about back then, wasn't it?

Speaker 2: 24:20

yeah, it was with your felt tip just circling. We didn't have the internet. Yeah, exactly, exactly. And I saw this advert um, you know, gmtv, kids, courtney, to, uh, high five, high Five. And I swear to God, even at the audition I was like I've auditioned for this before. I, just I, just I, completely. Now, even now I'm like, oh, I've definitely auditioned for that before, but obviously it was just coming out some kind of sixth sense or whatever sixth sense. I can't say that sixth sense and anyway.

Speaker 2: 24:53

So I went for it and I got it, but I was playing Linda, so I was playing the role that I always, always, always, always, always wanted to play. I'd only played, I'd only been doing the role. I think it was about six, seven months, something like that, and I got high five. But high five was a whole other ball game really. You know that was going to be tv. You know, traveling the world. It was. It was a no-brainer, I had to do it. I had to do it. So, yeah, I had to beg Bill Kemry to, to, to, let me leave, which which was, you know, a disaster. I feel like a lot of my friends say that I've left little bonfires wherever I've gone. I'm like, I'm like I'm so sorry about that bang, and then I run away but if that's your thing, then that's your thing.

Speaker 1: 25:43

It's going on to create magic elsewhere.

Speaker 2: 25:45

There's a lot of Emma love to share right, so, um, so, yeah, so then I went on to high five and then that that was. I mean, look, I'm speechless, can't even put it into words like that's how good that was. I mean I literally I was in Sydney rehearsing. I was in Cannes, you know, doing, uh, mipcon festival. I was in Carlton Hotel doing showcases. We're at Parade Theatre, hamm, hammersmith, apollo. I was singing for the Royal Family at the Abu Dhabi Palace.

Speaker 1: 26:17

You know, it's just and High Five was huge.

Speaker 2: 26:22

In Australia. It was absolutely huge. I mean huge.

Speaker 1: 26:29

Yeah, talk about being at the pinnacle of the machine. It was one of the biggest things.

Speaker 2: 26:34

Yeah, yeah, yeah, it was high five and the wiggles basically in Australia and we were managed. You know it was all very led by, you know, australia, and so that's why we were there. We were there rehearsing and we were, you know, our team was from ours so, and then we were in Teddington Pinewood and we were, you know, our team was were from ours so, and then we were in teddington pinewood studios recording. You know, it was just uh, yeah, it was just uh.

Speaker 2: 27:00

Well, yeah, I'm speechless over it still a whirlwind, yeah yeah, it's an absolute whirlwind, um, and phenomenal and and musical as well. So I, I got the chance to you know you, you get your songs. But yeah, typical me and a couple of of the other high fivers, we were like, well, we need to layer this, we can't just sing these songs in unison. So we just went like another level. So every song, honestly. So there's just little songlets in, you know, in each episode and we'd literally be going off doing like four-part harmony. You know it was for five-year-olds, but we were just loving our lives, we were absolutely loving our lives high end art.

Speaker 1: 27:40

That's what you were doing with the harmonies. They just didn't know it. They didn't know it right. Those little kids are like now got the ear of harmonies. That's where it's coming from, right? Not youtube. Back then it's with them those little kids are 20.

Speaker 1: 27:53

That's what's devastating still fans, lifelong fans, right, it's a really interesting kind of set of opportunities. Amongst those things we've spoken about, have you really going for this actress line and I? I would like to know, um, that also includes award winning? I I've done my research, did lots of awards around those films. I also believe one was BAFTA nominated one was BAFTA nominated.

Speaker 2: 28:19

I mean, they're only small parts. They're only small parts. I was just starting off, hey don't diminish what you've done.

Speaker 1: 28:25

They were a really big thing and it was really working. Then you were like screech around the corner.

Speaker 2: 28:29

Yeah, blood brothers yeah, leave, yeah, leave a bonfire Off. I go again, yeah.

Speaker 1: 28:34

And then screeched off to do Hi-Fi, which was an interesting conversation about how could I be released Such a different set of opportunities, but all in the creative realm, which clearly made your heart sing. I just wondered what you would say is the thing that you got from each of them that was similar and actually what you hold on to now still delivering your role as a director. You know what is that thing? That is the through thread that still sits with you thread that still sits with you focus, focus.

Speaker 2: 29:13

I would say I think, whatever I go into, I'm very focused and give it a hundred percent. Basically, you know, I yeah. I think that's why I remember being quite frustrated in my journey. Although I was getting great opportunities, nothing was matching and obviously I was thinking of my CV and I was like where, where am I gonna go? What, how am I gonna land here? What's where I'm, where's the longevity, where am I going? But nevertheless I was like it's okay, I'm gonna turn the corner.

Speaker 2: 29:37

I'm just gonna go for it and you know um yeah and that's really, that's really important.

Speaker 1: 29:43

You know and I think there has been quite a lot in the past about people will say, god, your CV's all over the place. You need to do this. The reality is we live in a portfolio kind of career-based world and it's about picking all those experiences up. What would you say to those that are kind of maybe in a similar position now, wanting to explore how should they go about navigating, getting those opportunities and that different kind of experience and not worrying about changing lane?

Speaker 2: 30:12

essentially, as long as you're working in the arts, isn't that? Isn't that success anyway? Isn't? Isn't working in your passion the the end product? Isn't that? Isn't that? It isn't that where we should have fulfillment? Isn't that? It? Shouldn't that just be? You know that's.

Speaker 1: 30:31

That's where it should sit for me also the, the idea of you know you're having that idea in your head about, oh, we're going to do this, only actually the reality is you're going to do a lot of things. It's like a great tapas meal, bit of everything and it builds you into this great character. You know, performer, professional leader, and actually I feel like there's a lot of pressure for people to be like tell us what you want to be and stay and I've got to stay in this lane, yeah actually the reality.

Speaker 1: 30:57

I honestly don't know anyone that has done that. I stay more in my lane now that I'm a bit older, but I'm all over.

Speaker 2: 31:04

Look at me, I'm doing a podcast yeah, yeah, yeah, yeah, yeah, but it all ties in, it all ties in and I think the the idea of that staying in one's lane is really outdated.

Speaker 1: 31:16

You know, um, a colleague of ours, martin Green, who is the director of Eurovision that we both know, um, in his interview he says about it's great to do all of that, but then just be really good at what you do, be really good and embrace that change, and I think that's you know, I definitely think that's what you've been doing is I'm going to do this and I'm ready to move on and building that set of skills. Actually, you probably just can't get from one role. And if you just stayed in Blood Brothers like because it's quite easy to do that tour, isn't it, and because it goes and and goes, you know you've done that for three years.

Speaker 1: 31:46

Just think about all the opportunities you would have, you know, and the experience and exposure you'd missed if you hadn't have taken the leap and left the fire.

Speaker 2: 31:55

Yeah, exactly. But also I suppose that set me up for my attitude now towards Popbox is the fact that I'm used to going, okay, well, let's do something new, let's do something new, let's do something new. And so every, every gig that comes along, yeah, choir members, it doesn't, it doesn't put me off, whatever it is. You know, I'm literally like, yeah, okay, we'll do that, yeah, no problem, whatever.

Speaker 1: 32:16

So you know, it's so varied, but then that's what makes it so good yeah, and can I ask pop folks, what was the seed of the ideas for you to start it? Or can you not remember? Was it just a thing that happened?

Speaker 2: 32:30

I feel like I I saw it somewhere that someone had a choir or pop choir and it was a. It was a membership, and I remember thinking, well, if I open one on a Monday, then I'll I'll work and then I can audition Tuesday, wednesday, thursday, friday, because at that point I was living back up on the Wirral, so any auditions I was having to hop on the train and sometimes it'd be, you know, you've got an audition this afternoon and you'd be like, okay, let's go, you know. So that's one thing that I love right now is that everything's done via tape. Really, you know, there's a lot more tapes. That's fantastic, you know, because, oh my gosh, I would. There'd be so many times when I'd literally jump on the train, get down, go to, uh, pineapple, belt out a song, be absolutely shattered, get back on the train and be like what just happened, you know, and be broke as part of it exactly and be absolute and and not perform as well, because you you know the stress of the journey and all that.

Speaker 2: 33:29

You know it's so good, but sorry, I'm going off on a tangent, but yeah, so I set up the first choir branch to enable me to continue to audition, and then I swiftly realized that, without sounding I don't want this to come across negative but I liked the control that it gave me of using my skillset but being able to navigate my own life. Basically, I was a little bit older, you know, I was nearing 30. I think I just got a bit tired of going oh okay, well, I'll just drop everything and I'm going to do this. You know was nearing 30. I think I just got a bit tired of going oh okay, well, I'll just drop everything and I'm going to do this, you know. And so I really started to to appreciate the fact that I could yeah, that I could still be doing what I love, but I could just have a bit more control over my personal life, I suppose suppose as well.

Speaker 1: 34:27

And that leads really beautifully into my next question. Like you know what I'm going to ask you, which you don't- I don't. You've already answered a part of it, which is great. I wanted to know what do you get from leading PopVox emotionally, artistically, and you've already said the control thing, which is great. So what outside of that, what do you get from it now? And you know you've been doing it a while what is it that you get out of it for Emma, the artist, the leader, the human?

Speaker 2: 34:55

The human. I get what everybody else gets, and I say this I think I say it on a weekly basis Everyone comes to choir for a reason. You know. Everyone's got something going on Life is up and down, my life included.

Speaker 2: 35:12

I get exactly what the members get, and that is that we go into a rehearsal room, we close the door, we put the music on, we start singing. The benefits of singing are insane. It's, it's absolutely incredible, you know, for the body, for the brain, uh, one of my members said for the soul, and I love that, I love that you know um, and, and so that's what I get as the human and as the leader.

Speaker 2: 35:43

You know I, I'm, I'm the one that's. You know that. You know that's central, I suppose, to to the business that I. I get what everybody else gets. I get those endorphins, I get that joy, I get those health benefits and I get that escapism and I am performing as well. You know it is oh, you are.

Speaker 1: 36:02

Oh, my god, oh, if anyone doubts, that was your performance up and you must be burning the calories, girl, because the way you conduct that choir but I have to, but I but I have to.

Speaker 2: 36:19

You know, I think. I think people might look at me and be like god, she needs to calm right down, but I have to, because I'm standing in front of a community choir and they need that level of confidence, that direction that this is when we're coming in, it has to be bigger than a normal you know what I mean a professional choral director. It has to. They have to trust me. I have to be so confident in my direction of when they're singing, when they're coming in, when we're moving, and so, yeah, I'm, it's, it's a workout for sure and there's yeah, and there's a lot going.

Speaker 1: 36:58

I mean that's what makes it really special. Why is singing together so powerful? What happens in that room of yours?

Speaker 2: 37:05

well, you know what one of my favourite facts? One of my favourite facts is that when you sing in a group, your hearts synchronise Really. Yeah, isn't that amazing?

Speaker 1: 37:19

I didn't know that.

Speaker 2: 37:20

And for me that sums everything up Like that's what happens, and I'm very clear we work as one, we sing as as one, then our hearts are as one, and then I'm just a soppy soul. So you know, that's it but I love that.

Speaker 1: 37:36

Isn't that lovely? The choir's insane. You're not just singing pop songs, and I just want to make that really clear. You're building confidence. You're building a really interesting and different community. People all walk so like. Some people know each other, some people don't, some people are suffering from loneliness, some want to be performers, even healing, I would say, and I've spoken to and I know lots of people that are part of your choir and I've worked with some of them now and I would say they get so much from it. I just wondered did you expect that aspect coming from it when you created it?

Speaker 2: 38:11

not at all, and I think that not at all. And then I think that is why. That's why it's just it hooked me. You know it's so emotive, it's just, you know, it gives so much. And I think that's why I'm literally like, well, I just need to, I just need to do this more.

Speaker 2: 38:29

And I, honestly, david, like I was saying this the other day that I, every session, every rehearsal, someone will cry and no one knows. No one knows when we're, when we're standing there and they're singing out, oh God, I'm going to get, I'm going to shake myself up thinking about them, about them, but someone will cry. At least one person during the rehearsal will cry. It's not necessarily sad to it, is they? They're happy as well, and it's just the fact that people get lost in music. They are totally immersed, they're right in the moment.

Speaker 2: 39:01

Ah, it's just incredible to watch, it's incredible to see and it's um, really humbling as well, like, like I, you know, I, I love it, I love what it does for everybody individually, personally, as well as what they're doing. You know, you know what I'm trying to create, you know, is the most professional amateur choir, and they do that. My goodness me, they are, are fantastic. The truth of the matter is why are people coming? Why do you want to sing? Oh well, I'm I've, you know I'm I'm grieving, I'm getting divorced, I've got this going on. I just want to come in and switch off and and that's the, that's the magic of it, that's the community. That's that's the community, and that that's what's the most important thing about pop box.

Speaker 1: 39:47

There's a friendship and that's also what you feel as an audience member. Whether you're on the steps of liverpool one, you're doing some mad with me, you're in the middle of a stadium. You record it. You can definitely feel it. And when we were working together, people were literally bawling their eyes out around us, even people that some of my colleagues that she's going to get embarrassed if I say her name, kerry when we were doing we were, the building was closed, it was just us rehearsing and she was like a mess in the corner and she couldn't tell me what it was.

Speaker 1: 40:19

But it's something and music is good for the soul and that's why I believe the creative industries are for every. The creative industries are in all of us, however we express or consume that. And music is this amazing thing that we have and used in different contexts to create feeling and emotion and create great opportunities. And one of those opportunities was when I was like hi, emma, I've had this person come to me, um, with this idea to do a little project, but I've turned it into something ridiculous which was a Help Ukraine song.

Speaker 1: 40:51

We picked an iconic song and then we were basically going for it and trying to get as many people across the country which then turned into the world, to join in this song together, which was around Ukraine, because Liverpool hosted Eurovision on behalf of Ukraine and we wanted to make a moment. And then, because I'm bonkers, I was like, let's supersize this, and Museum of Liverpool became the anchor point for this and boy did the world descend on us. I wanted to ask you when I dropped you a message and I was like hi, you don't know me, but can you remember what you were thinking when I was like giving you this blurted out idea that I had?

Speaker 2: 41:29

I think there was the tagline of united by music and I just thought this is incredible, like this is going to be, like you've just said, ridiculous. It wasn't ridiculous in any way, shape or form. It was unbelievable. What you set out to do and and it was just an immediate yes, it was absolutely. We are totally going to be involved with this. It was so important. I actually can't believe it's two years ago. It was. It was. I know I was reading through the emails and you know it says it was a international moment of musical solidarity with ukraine. It was now. That was emotive. That was everything that we've just discussed. You know that flash mob. You know the reach was something like 300 million, wasn't it, across the world.

Speaker 1: 42:17

Oh, it was ridiculous. And it was Zidane and Valerie, collaborators and friends and have been on this podcast. They run the agency Aurora. It waserie's initial idea. Somehow we got chatting about it over teams or something like that. And then I was like we could, this could be bigger than you are letting yourself to dream, valerie, and I think that's just because of her confidence and going, oh really, and then I was like let's turn it up. And obviously we were hosting eurovision on behalf of ukraine, but liver, liverpool's a musical city, for god's sake, and if we can't milk the crap out of that, yes, and it was one of the most. And I was trying to think I think we were going around maybe a couple of tracks that we wanted to do, and and then we finally settled on one. And then I was like, oh, what arrangement have you got? And you were like give me a day. And you came back to me with this arrangement. You basically like put together record, send, flipped it. I was like this is going to be amazing.

Speaker 2: 43:20

So funny. I always think of my neighbours in those situations where I'm like, right, okay, just got to get into the little office and just belt out and record.

Speaker 1: 43:32

I always think my neighbours must be like here she goes again. Well, they must know you're buying that but and then they must be like, what is she doing now? But from that moment we really clicked and I had the real great opportunity to obviously help shape that and choreograph it and stage it in the building. So we staged in the museum of liverpool, which, if you've not been there, it's on the waterfront of liverpool, which is gorgeous, iconic and in the center of the building. It's basically a cylinder plaza, piazza with spiral stairs.

Speaker 1: 44:00

So my choreographic brain was like we're gonna have this choir. Because everyone was like, how many do you need david? I was like all of them line the have this choir. Because everyone was like, how many do you need David? I was like all of them Lined the stairs, the balconies, and we created this moment with. It was very simple choreography but actually really powerful and I'm getting goosebumps now just remembering the feeling of hearing it and seeing it for the first time. And we had Stuart on the piano in his Freddie Mercury kind of outfit. You guys had all been there on time, you'd bussed in, you've trained in, everyone's looking neat and tidy and then we go for it. It was just such a spectacular moment. I wondered, after we finished that and we'd basically got papped outside by ITV and all that I wondered what the weeks or maybe the days the weeks follow that how the choir felt and what, what. What did you talk about when you got back home or back to the studio? I wondered what that experience was like for them generally.

Speaker 2: 44:55

I think I think it was surreal. First and foremost, I think everyone was like wow, like that was incredible. There was, liverpool was electric that day. It was there was an incredible vibe.

Speaker 2: 45:11

It was just, yeah, it was amazing, but then I think it was poignant as well, wasn't it? It was, you know. So, I think, as the days passed, you know we were talking it through. You know you remember, yes, the experience was incredible, but what we were doing it through, you know that. You remember, yes, the experience was incredible, but what we were doing it for, you know, and then and then, the reality of you know the situation and, uh, you know, just, it's really sad. So, you know, I think I, and then I think, then, then everyone becomes really proud then that that, you know, that's where the thought process goes is that I'm so glad that we did that and we did that for this. You know, and we've tried to make a difference here. You know, we tried to put some good in the world, and I think there were lots of different emotions as time passed over it. Really, they still talk about it now, my members, you know, literally.

Speaker 1: 46:05

We've got to brew up some zin. But the coverage was and the attention was bigger than any of us expected. No, literally no, honestly. We've got to brew up some zin. We've got to do some new soon. But the coverage was, and the attention was bigger than any of us expected.

Speaker 2: 46:12

Absolutely.

Speaker 1: 46:14

Getting you to do an encore outside and then being filmed.

Speaker 2: 46:17

Yeah, and then you know Steve Rosenberg was there playing the piano for, you know, Radio 4. So then we ended up doing an impromptu performance for Radio 4 of your song, you know. Then Bernard reports.

Speaker 2: 46:28

I saw Gemini, you know it was just literally like ding ding, ding, ding, ding, like it was just snowballed. It was. It was an incredible. I always feel like I say incredible all the time, but I just, they are literally just. They've just been incredible experiences one after the other, but, but, but this, but this, this event was was a whole other cat and a fish.

Speaker 1: 46:50

It was very, very, very special, especially just being in Liverpool as well, you know oh god, yeah, that was it was, and the weather was gorgeous and our friends and our partners from Ukraine were here just really beautiful and I'm really really thankful for you just saying yes to me and not knowing what I was doing oh my gosh, I can't thank you enough.

Speaker 2: 47:12

I cannot thank you enough. You know you could have asked anyone where you know. I'm so grateful to you, david, for the support oh honey, but I'm looking for quality.

Speaker 1: 47:20

So I was literally like can they actually sing? Because I can't be doing with rough harmonies. Right, really good direction really and really get the vibe of what we're going for and can handle the stage. And you know, and what you've worked with your choir is actually you've given them really great exposure and experiences to build that confidence for them not to even. They didn't even blink an eye when I was like oh, by the way, this is a list of media that are going to be recording ITV, bbc, sky News, international TV and none of them freaked out, but that's because you built that.

Speaker 2: 47:53

Yeah, but also I'm literally like don't move a muscle. If you've got any problems, come to me. Do not make it shown to anyone else.

Speaker 1: 48:01

And you've gone on to do, like we've said, like loads of other amazing things. Following that, I just wondered what's next?

Speaker 2: 48:09

what is next? So we've just, obviously, at Christmas we released a charity, single um. That's been huge, obviously, and everyone's like, yeah, exactly. Everyone in the choir is like, so what is next? I'm like I just uh, I'm just gonna have a little rest for a moment and then we've gone on this year to work for a TikTok influencer, p Louise, obviously an international amazing feather from Walk the Plank Arts, you know. So I think what's next is I want to, I want to expand obviously the franchise. I am looking for franchisees. So if anyone out there is thinking about you know, know, look, plug, plug, plug, um, and you know being plug away you know.

Speaker 2: 48:52

If anyone does want to have a music franchise, you know, come to us, come and have a chat, you know, and come see what we're all about. Um, we're always looking to expand across the uk and then we are starting up our workshops. So, um, prior to I used to do vocal health workshops, musical theatre workshops, getting into that as well, and then just continuing with our gigs in their entirety, whether that is, you know, we're at Liverpool One this weekend on the steps, but then, you know, in a couple of weeks we might get another, you know, high end gig, just having fun, david, to be honest.

Speaker 1: 49:31

Yes, having fun.

Speaker 2: 49:32

Yeah, that's what it's all about, you know. I think the rehearsals, the weekly rehearsals, are the most important thing. Yes, the gigs are incredible I've said incredible again, but there we are but the weekly rehearsals, we have an absolute blast. We have an absolute blast. We laugh so much, so much. You know, and that's what it's all about. So, yeah, continuing to grow business-wise, continuing to give opportunities to our members. I'd personally like to do a bit more, trying to, you know, merge maybe my professional work into into choir as well. I feel like I've only just found my feet, if I'm honest, since the pandemic, really, and now I'm like okay, let's, okay, we're okay. Now, touch wood, let's, let's, let's go. Where are we going? We're turning a corner.

Speaker 1: 50:22

I won't leave a bonfire this time, though well, you only be leaving it on yourself, so.

Speaker 2: 50:28

Yeah, true, yeah, yeah, yeah, Okay.

Speaker 1: 50:32

What might professional Emma work and the choir merging together look like?

Speaker 2: 50:37

I would like to maybe do a bit of presenting through music as well. You know, I would maybe try to do something that way. I feel like that's the natural progression really is to see if I can get any professional presenting work or anything like that with within music or, you know, choir, vocal opportunities. First and foremost it's it is about pop box. You know it really is. I adore it, david. I absolutely love it. I am so grateful that I have this job. It doesn't feel like a job which is incredible, you know, which is great that's part of feeling fulfilled, which is yes what we all want.

Speaker 1: 51:17

I wondered what perhaps you would say to people that might be interested in joining a choir. So people probably love to sing but haven't thought about it, are really scared, nervous. I wondered what you would say and what makes your choir or a one of your franchises different?

Speaker 2: 51:33

I would say that we are fun, we are friendly, we are full of personality. Like come on down, there is nothing, nothing to be worried about. You will never be asked to audition, you will never be asked to sing a solo, you will never be exposed. We we are. It's safety in numbers. Okay, so come in for a taster, see what we're all about, and, whether that's a pop box or you know, there's room for us all, wherever you know. If you're listening to this in Scotland, we don't have a branch in Scotland, but go and find a choir, go and and and seek the health benefits of singing, of group singing. You know it's incredible. But if you're local, obviously, just come to us.

Speaker 1: 52:14

Check out the socials and the website.

Speaker 2: 52:16

Yeah, wwwpopboxquirecouk.

Speaker 1: 52:20

I wanted to ask you about the future.

Speaker 2: 52:23

Yeah.

Speaker 1: 52:24

For you? What will help make you fly, what is the thing you need to let go of and what is the thing you need to grab?

Speaker 2: 52:30

I think sometimes I can be a bit apologetic. I think you know I can. I don't. I think there are other characters and other leaders that probably are a bit more center stage, whereas I have grown pop box. I don't want to be center stage, but nevertheless. Nevertheless, I feel like I need to push myself a little bit more to enable further growth, further development. Um, I think I've always been like oh no, no, no, don't worry, don't ask me anything. Like when you were like, do you want to do this? I was like oh, my god, I'm a bit nervous, but actually this is what I do, this is my I know who I am, but I think that first time I asked you.

Speaker 1: 53:06

I think you said why me?

Speaker 2: 53:10

But I think it's because I, yes, I'm a performer as Emma Noel, but pop box choir is not about me. So I get really uncomfortable because I can't bear it. I can't bear it when, you know, when the directors take it are taking the glory. No, no, no, no, this is about. This is about the choir. So I think that's where I get a little bit uncomfortable, because I'm like this isn't about me, but nevertheless, uh, to your point, like I, I feel like that's what I do need to let go of. I need to, uh, push myself a little bit more back to where I was, you know, prior to pop box.

Speaker 1: 53:47

Really, yeah, you're really, really aware of that boundary yeah, and that balance yeah and you've got all this experience, you're safe to go and experiment and create, and you know what is it. The thing that you need to fly is it to get out your own way? Is that what it is?

Speaker 2: 54:02

yeah, probably I. Yeah, it probably is, and, like you know, I think I hate arrogance. I'd hate to ever come across arrogant, you know, and it's just a fine line, isn't it? But, like you say, I just need to get out of my own head, absolutely.

Speaker 1: 54:14

And you've got the experience to do it and it's your baby and you know what you want it to be. And I ask that question because people in the creative industry creative industries often struggle with this yeah yeah, what do I need to let go and what do I need to gain? And that's about being honest and open and, I think, how to stay open to creative risk-taking, how to be self-critical in a healthy way yeah not listen to everybody else and what they're saying or overly thinking because everyone's got an opinion.

Speaker 1: 54:44

Other people's opinions of us is not our business, as somebody says I can't remember who that is probably rupal, probably but it's true, it's true and actually we can let that go in order for us to continue.

Speaker 1: 54:54

We still got loads of ideas. We still want to do stuff, so let's do it. I wanted to give you an opportunity because I'm sure you've got many to talk about any myths, misconceptions or pet peeves that you want to clear up right here, right now. Everyone loves this bit. I have to, like, shut them down because I've got hundreds. But come on, give me something. What's a pet peeve? What's a misconception?

Speaker 2: 55:18

Pet peeve. Okay, for choirs a pet peeve, I think. To be honest, I feel like this is changing. It is definitely changing. But sometimes when you know people say, oh, what do you do? I say, oh, I'm a choir director. They're like, oh, and they laugh, they mock it because they expect you know, sitting around you know a fire singing there's nothing wrong with that, by the way, you know but I feel like it sometimes gets poo-pooed and I'm literally like what? And I always feel like I have to yeah, I have to like justify it. I'm like what is going on? Why have I got to justify it? Now, that is changing. I have definitely noticed that in the past year or two, the popularity of being in a choir well, it's just getting, you know it's getting more and more and more.

Speaker 1: 56:04

But I think some of that comes from it. Choirs appearing in, I would say, very well established formats like as much as we, some of us can't stand it. Brenda's got talent. Yeah, you get moments like that or like great cultural moments, and it's like this oh my god, there's 600 people singing a choir. So I think that's possibly what helps that. But you know, you know you need you don't have to justify yourself no, I know that, I know, I know, but nevertheless what?

Speaker 2: 56:31

yeah, yeah, or you know this is the social.

Speaker 1: 56:34

Go and look at it yeah, yeah, exactly, but it's.

Speaker 2: 56:36

I think it's that I think you know the misconception of what it is, what my business is, what you know, what the, what the choir are, you know the choir members are. It's just, yeah, it really drives me, really drives me bonkers. And then, on the other side is that now everyone seems to want a choir for their event, which is absolutely incredible. But then what I found is that on a couple of gigs, naming no names, the members are getting taken advantage of. So then that's my role. All of a sudden, I'm like whoa, whoa, whoa, whoa, whoa, like hang on. They're literally like, okay, I just need you to sing for an hour non-stop. I'm literally like, are you having a laugh? You know it's not gonna happen, but that's so.

Speaker 2: 57:14

I feel like I'm obviously. You know I'm, I've learned on the job, david I. You know this is the 14 years that I've run pop box. But I have noticed a change with this, that now, all of a sudden, it's like hang on a minute. You know, yes, we're a choir, but we are a community choir. First of all, this, you know, there's the music union isn't stood on our shoulders, you know? Do you know what I mean? I feel like, yeah, we are getting taken advantage of, but that I'll rephrase that people try to take advantage.

Speaker 1: 57:41

Yeah, it doesn't happen and we've got and you know it's again another recurring theme about a. We need to know our own worth and we also need to educate people about the worth of us creatives. Um, do offer a fee, for even if they are a community choir, I you know, the reality is they're probably not going to charge you thousands. But think about how they all get there the community, the commute, the food, the nourishment we never charge, we never charge, we never charge, we never.

Speaker 2: 58:08

It's very, very, very rare that we will charge to sing very rare. So that's what.

Speaker 1: 58:13

That's where it really annoys me but be generous people with artists and you know particularly quite, I know they're big, but be generous, respect our time and their talent right. I'm with you on that one. Oh, I feel a bit angry. Well, this is meant to be like let it go, release it. This is the opportunity. I think this could be a fun. Final question, because I know lots about you.

Speaker 1: 58:41

So I ask every guest at the end of every episode to make a cultural confession. And that confession could be a little secret about you that no one knows about. A really funny guilty pleasure, unexpected revelation. Obviously don't get yourself into trouble, but spill the beans.

Speaker 2: 58:59

Emma make a confession I mean I've probably got a couple, to be honest, but the first one that came to mind, okay, is it was back when I was working in the West End, so it was my first week in Blood Brothers and I was the understudy but I was also swing, so one of the one of the other actors was off, so I had a really busy track and it was my. It was I think it's like my first or second week in the show and I never forget I was in the dressing room and I heard my line on stage and I missed it. I just missed, just missed the scene.

Speaker 1: 59:41

I bet your bottom dropped out.

Speaker 2: 59:43

Oh my gosh. I mean, how many years ago is that? Over 20 years, 20 years, no less, but nevertheless, I am still haunted by that moment.

Speaker 1: 59:54

I can see the way you're reacting. I'm blushing.

Speaker 2: 59:55

Look, I'm blushing right now. I mean, it wasn't a massive scene, it was literally. I think it was one line, but I never forget. I think I always put my lippy on never forget, I think I was put my lippy on. I was literally like oh, I missed it, I've missed it. Wow, the panic. But that stayed with me. I've never done anything, touch wood. I never do anything like that, ever again. But you know, I think also, you know, we're all human. We're all human, yeah stuff happened.

Speaker 2: 1:00:22

Shit happens where you're like oh my god, I'm gonna get fired absolutely, yeah, thank god, I think they just it was like week one or two, so I think they just let me off. But yeah, wow, that was enough to frighten me for the rest of my career, basically.

Speaker 1: 1:00:39

Emma, thank you so much for doing this. Thank you for sharing and being so generous and talking to us about your career, your amazing choir and actually, deeper level, what it actually means to you, but also to the members, and why you do it. Thank you so much. I hope you've enjoyed this and you're not nervous.

Speaker 2: 1:00:56

No, I'm fine now. Thank you, I've had an absolutely lovely time. Thank you so much again, david, for having me on. Thank you, I've thoroughly, thoroughly enjoyed it. Thank you, and let's brew up our next project together soon.

Speaker 1: 1:01:10

Yes, please, thanks for listening to this episode of before the applause. Please do tell everyone about this podcast and stay connected with us across all the usual social media platforms by searching at before applause. If you've got any burning questions, want to share your own insights, want to recommend a guest or be one yourself, then we'd love to hear from you. You can direct message us on any of our social accounts.