Join us as we go behind the scenes of the Girls Aloud 2024 Tour with exclusive insights from Claudimar Neto, the tour’s dance captain! In this episode, we discuss the incredible choreography, tour highlights, and Claudimar’s experiences working with the iconic Girls Aloud. Whether you’re a fan of pop music, dance, or live performances, this interview offers an insider’s look at what it takes to bring a major tour to life. Don’t miss out on this in-depth conversation with one of the industry’s top dancers!
Follow Claudimar on Instagram: @claudimar1
00:00:00 --> 00:00:09 Today, we are speaking to a very special guest and celebrating the Girls Aloud Show 2024 tour with dance captain and assistant choreographer, Kladimir Nero.
00:00:11 --> 00:00:40 Welcome, Claudemai, to CCTV! Thank you so much for having me. Absolute pleasure. Yes, we, of course, both flew from New York City to go see the Girls Aloud show. We went to the Aberdeen show together. And then I also attended to the Glasgow shows. And then literally just got back two days ago from the UK from seeing you all at Brighton Pride as well. So, of course, Claud, we have been watching you for many years because we are also huge fans of Little Mix.
00:00:40 --> 00:00:52 So we actually watched that live stream of their last show together when you gave that beautiful speech. So it is such an honor for us to have you on the show today. Oh, thank you so much. I'm blasting now.
00:00:54 --> 00:01:12 Thank you. Yes, we're fans. No, pleasure's all mine. Pleasure's all mine. I can tell it simplifies. I love it. Yeah, of course, because we were dancers once upon a time. Maybe not like your level, but we were dancers. So we appreciate watching the full scope of everything and watching the people involved.
00:01:12 --> 00:01:37 People don't realize like you all are not just background dancers, your support, your sometimes emotional support, your costuming, your striking things off the stage. So it's really awesome to talk to you and talk about all the dancers that you work with. But if you are a viewer or a listener and you're excited for this interview, give us a like, click that subscribe button. And you can also join us on Patreon at patreon.com slash CCTV Pops. We do have a free tier.
00:01:37 --> 00:01:59 So come on and hang out with us and our CCTV producers, Emily, George, Lily, Louis and Juliet. That's right. All right. So let's get into it. So before we talk about Girls Aloud, Claude, we'd love to just learn more about your dance experience. What led you to dance and how has life been for you as a professional dancer? I mean, I'm.
00:02:00 --> 00:02:16 I grew up basically dancing. I don't think I know anything else. My family is African. I was born in Angola. And my background is kind of Brazilian and Portuguese. So I grew up doing salsa and sambar. So it's always kind of been a part of my family and growing up.
00:02:16 --> 00:02:37 So from what I can remember, I pretty much always wanted to dance. And when we moved to the UK when I was about 11, 12 years old, there was so much more when it came to dance that I never knew about different styles and that I could do it professionally. So I think from about 12 years old, I like...
00:02:38 --> 00:02:52 I just set in my mind that that was it. That was exactly what I was going to do. And there was no ifs or buts around it. It was just the goal. So, yeah, no, I pretty much, yeah, just always wanted to do it my whole entire life. So I don't know anything different.
00:02:52 --> 00:03:22 Born to dance, dancing out the womb. Exactly. Love that. So what was that first gig that you got that made you feel like, you know what? I done made it, I did it. Well, I went to musical theater school. Like here in the UK, we have dance schools that you go to for about three or four years, depending on the level that you're at, which you get a degree from, or a national diploma. Like you got to have like Julliard and Alvin Ailey,
00:03:22 --> 00:03:38 over there as here we have so many more different types of schools and you train not just in dance but you do musical theatre as well and acting and singing so you go across the board and try and find where you sit best so I went to a school like that called Erdan for three years
00:03:38 --> 00:04:05 Um, and I worked very, very, very hard. Um, and now my last year, I booked a tour, um, for an artist called Beth Ditter, who's actually from Canada. Um, and she was in a band called The Gossips. Um, and then that was pretty much my first gig. I hadn't even graduated yet. And we were touring, we were going to Europe, we were doing Australia. And I think that was the moment I was like, oh,
00:04:05 --> 00:04:27 This is happening now. This is the real deal. I'm performing that in front of thousands and thousands and thousands of people. Like, you know, it's a dream and you can never put it into words when it comes to reality what it feels like. That's what that moment was. And I think I've been able to hold on to that my whole entire career of 15 years and still feel exactly the same way today.
00:04:28 --> 00:04:48 Like even just the other day at Brighton Pride, I still go out on stage and look at it and go, oh my God, I'm actually still doing this. Like, it's still real. Like, is this happening? Is it not? Like, I still get that same feeling. That's something that I'm quite proud of myself for doing, holding onto the passion and the love of it. But the reason why I started and the reason why I'm still doing it now.
00:04:48 --> 00:05:16 Yeah, that's amazing. Yeah, I think both of us have a lot of friends that are in the dance community or have been in the dance community, and we know how tough it is to live that kind of audition life and how tough just touring life is too. So major respect for that. So after that tour, you have had some amazing experience. You've worked on shows like The X Factor, Queen of the Universe, you danced on tour with Little Mix. So do you have a proudest accomplishment so far?
00:05:16 --> 00:05:43 I think Little Mix played such a big part in my career. I was actually out for lunch with Leanne yesterday. We were just catching up, because I hadn't seen her in ages. And we were just sat there, and we were just looking back and just thinking, freaking hell, like, it's been... We did that for what, 12 years? 12 years, like back to back. Every year we were touring, we were together all the time, to then,
00:05:44 --> 00:06:13 two years ago during the last tour and then like, still seeing each other, but not as frequent as you would every day. So yeah, but I think my proudest moment would probably be the whole entire entity of Lil Mix. I think that taught me a lot. I grew as a person, I grew as a man. I learned so much about myself. I learned so much about the career path I wanted to go into. They helped guide me in the right direction. That's why I'm choreographing a lot more now. They nurtured me in that way.
00:06:13 --> 00:06:29 and they pushed me out of my comfort zones. There was times they asked me to choreograph, and I didn't feel like I was ready, but they were like, no, we think you can do it. So there was a lot of lessons that I definitely got from that. So I think as a whole entity, I think it's probably my proudest moment, but...
00:06:30 --> 00:06:50 One particular one that I remember so clearly in my mind was performing at My Square Gardens with them for the first time. That's always been a dream of mine. And it was, I cried my eyes out at every single song. It was probably one of my favorite moments of all time. Was that the Ariana Grande tour? Yes.
00:06:50 --> 00:07:18 Oh my god, I was there. I went to that. No way. We came out for Wings, and we were, the main stage was at Wolf Queen, it was a T-shape at the front, and we came out with my GoPro. I actually have the video with me still. Oh, wow. And I remember, on the GoPro, all you can hear me is like, the whole entire song is hilarious. But I was such an emotional person. Ah, such a manate. That's valid, me too. I'm Crybaby.
00:07:19 --> 00:07:41 Yeah, so I think that was probably one of my proudest moments, for sure. See, that's exactly what we're talking about, that connection that you have. It's not just, I'm a dancer, like, these are friends, these are people who believe in you. Almost a mentor or at least like a mutual respect kind of level, and that's so, so important. So, we're just going to move right along and talk about your career with Beth Honan.
00:07:41 --> 00:08:01 I mean, she's something else. The woman is a machine. She, I mean, she, if you look at her body of work alone, like, she goes back to the X Factor shows. She did One Direction. She helped her little mix together. She helped girls allowed, like, their whole entire career. So she's worked with, like...
00:08:02 --> 00:08:20 the masses of artists. And then even going back to her dance career, and she was a dancer before and as well, she was in the Lido in Paris. So she was a show girl for a while. Then she did West Live, which was another boy band. She was a dancer for them. He danced for Javine, who was also a massive British artist over here. So she's like,
00:08:20 --> 00:08:37 She did her dance career and then she then out-of-boarded herself into the industry of a choreographer. And she's been one of the leading choreographers here in the UK. Like, she's done everything and everything. And I was so lucky that she's still tempered in me from a really young age, um...
00:08:37 --> 00:08:59 And she kind of like put me under her wing and she taught me everything that I know really when it comes to choreographing. She was definitely a massive inspiration. And she taught me everything when it comes to directing, Amrits, lighting, all of it. She would sit me down and we'll be doing a production rehearsal. And if I wasn't part of the production, she would just invite me to come and sit with her.
00:08:59 --> 00:09:17 So she would be teaching me stuff as I'm just sitting there. She'd be like, write this down, write this down, do this, do this. And as I was going along the way without realizing, she was just preparing me for where she wanted to put me. And yeah, so I became a assistant. And now I'm...
00:09:17 --> 00:09:39 choreographer so she doesn't choreograph as much she kind of like directs a lot more and I step in and I choreograph for her and it owns to myself but a lot of the shows that she does I do with her yeah she's incredible and I mean she put the whole entire show together like the Girls Alive show that was all her all her her mind is just something else something else
00:09:39 --> 00:09:57 Yes. On behalf of all the Girls Aloud fans, we have a lot to thank for her. Like, she did so much. Like, all those iconic dance moves from back in the day, like, were all her. Like, it was always fun whenever she would show up, like, in the documentaries and stuff. You'd see the rehearsal footage. So, yes. Thank you, Beth.
00:09:57 --> 00:10:26 You are amazing. I don't mean mouth bath. Yes, yes we do. So were you a fan of Girls Aloud before you joined the show? I know you, I think you danced with them like at one promo appearance, right? Like for something new, but this is kind of your first big project. So were you a fan before and do you have any favorite songs from the discography? So I actually, I mean, I've watched the show when I was a kid, when they won the show and they were put together. So Son of the Underground was like,
00:10:27 --> 00:10:42 My son tried to watch childhood. So when I graduated our college, that was their first 10 year anniversary. That was when I graduated our dance school. And I went away for a while, I was doing,
00:10:42 --> 00:11:08 Still Alive, which is a musical based on Michael Jackson. And I was touring and I ended up coming back to do the West End and I had some time in the week and I got asked to perform with them. And I was like, okay, so ended up doing it with them. And that was my first TV performance here in the UK ever. And yeah, it was when they released something new and I did Good and I Need and I also did Strictly, which is like a dance with the stars over there.
00:11:08 --> 00:11:36 And yeah, that was not quite the most of them. And it's just weird how 10 years later, when I'm kind of like decided to kind of retire, that was my first job. And yeah, that was not my last job. It's just full circle. That is crazy. That is wild. Yeah, right? You know, life is lifing for you. I love that. It really is. I was like, this is, that was when the start was disarray in the start. Like, I don't understand.
00:11:37 --> 00:11:52 Go read those lines. I just clicked for you. Yeah. So for the tour, you were, as you mentioned, made dance captain and assistant choreographer in a group of 10 male dancers. So for people who don't know, what does that role entail?
00:11:53 --> 00:12:21 I mean, right, so our rehearsal schedule was a lot. Like, we did five weeks from Monday to Friday. And then if there's extra stuff that needed to be done, I would go in on a Saturday and work on some stuff with Beth and the other assistants in that. And it was a lot of work because there was a lot of work to do in the time that we had. But everyone worked extremely hard and,
00:12:21 --> 00:12:44 just really like threw themselves into it um it did it did get to a point that everyone's body was just like feeling it really feeling it but i guess that's when i kind of have to step in and keep the morale up keep everyone going um push everyone help everyone out um i had to learn my track and i also had to learn the four girls track
00:12:44 --> 00:13:10 And then I had to learn all the 10 boys track. So I had to know what everyone was doing. So if anything happened on the road, then I was able to fix it. And actually one of the boys got really ill, James, and we had to re-block the show with nine dancers instead. There was a lot of chicken and moving people around and you have to move the scale. A lot of people had to change some of the things. So yeah, so that's kind of like what it kind of,
00:13:10 --> 00:13:37 in my role as a dance captain. And then as a Soviet also, I was choreographing. So I was coming home, creating stuff, going back to the next day, trying to learn what I was doing and also teach everything else to everyone. Like it's what I trained for. It's exactly what I trained for. I love being like I'm being used to my full potential. So then I'm like, I throw myself into it. I love it. I get so much thrill out of it. Nice. That's awesome. Yeah. I guess speaking of
00:13:37 --> 00:13:53 even just before the rehearsals start, obviously you have to choreograph and the actual show has to be put together. So how involved were you with kind of Beth's creative direction? And what was kind of the favorite aspect for you when kind of putting the show together? Well...
00:13:53 --> 00:14:17 Beth actually, when it came to the creative direction of the whole entire show, that was for her. She literally, the set design, the visuals, what she wanted on stage. Obviously there was a collaboration with her and the four girls, but it was really just her vision. It was her baby and they trust her full heartedly. So I was more involved when it came to the creating of the choreography.
00:14:17 --> 00:14:41 Which began, I know her mind really well. I got to know where she's going to go with things. So I kind of reempted myself with some of the ideas that I had knowing what she was like. And then we went into the studio, just me and her, for a couple of days, worked on some stuff, started putting pieces together. We did on the Metro first, because that was actually the best track we started on. And yeah, we kind of just like,
00:14:42 --> 00:14:53 messed around a bit in the studio, we're just like playing and seeing what comes up and what she wanted, how she felt about certain songs, what direction she wanted to take certain songs in.
00:14:53 --> 00:15:21 There was like other things that when it was going to be in the show, it just didn't work a bit. So she would change things quite drastically as well. But yeah, no, the process was always really easy and simple because she just knows what she wants. So that makes it such an easier job when I'm assisting her to create because I know where her mind wants to go. And she's really clear on how she wants things done and she's really clear on what her vision is. So it's really easy to create for that.
00:15:22 --> 00:15:49 Okay, that makes a lot of sense. I mean, you have all these ideas coming and going. You have choreography, you have music direction, lighting, staging, and of course the girls themselves and management. So with all of these ideas being presented, were there any really tough decisions or compromises that you all had to make while creating the show and the choreography? I think because Beth is so anal about everything, there absolutely wasn't...
00:15:50 --> 00:16:12 There wasn't anything that needed to be changed drastically because she knew everything. Like, when I told you, everything is timed perfectly. She knows where everything sits, the way she explains things, and then she brings it to life. It just makes so much sense. She almost puts you at ease before you even see it come to life.
00:16:13 --> 00:16:22 You just know you're going to be in good hands because it's so thoroughly explained and so thoroughly thought about that there's no room for question.
00:16:23 --> 00:16:45 She'll tell you, you have to walk eight steps from this side of the stage to over there, and you're going to make it to Danmark. And you're like, okay. And then you do it, and it's spot on. Like, she thinks about every little detail. Like, how she wants her hand being held. How do we hold our fist? How low it's supposed to be? Like, she knows everything. It's brilliant.
00:16:45 --> 00:17:12 That is brilliant. I was going to say it's brilliant. Yeah. I think we have definitely worked with choreographers and directors that are not that anal about things. So we understand how important that is. Yes. That's amazing. You're so lucky. And it's funny because, it's funny because I, obviously I do work for other people as well and I see such a difference in how some of the people work and I just go, this is really awkward because I'm not here today.
00:17:12 --> 00:17:39 And I had it. That's happened to me this week, and I was telling Chris I was away working because I started a new position, and I was like, you spoiled me. I'm so used to something. We're so tight. I cannot. That's hilarious. That's hilarious, but that's great to know, though. That's great to know. So that means anything else that came up forward for you all, like, oh, the dancers are being sick, that's, like, things you really can't control. But everything else up until that point was just...
00:17:39 --> 00:18:06 Bone apple teeth, I love that. Yeah, she's insane, insane. And the girls trust her so much and they understand, like she may explain something and they don't get it, but they trust her enough to go with it. And I think everyone around also feels the same because you just know she's going to deliver. There's not never been a time that she's never delivered. So there's no repergression, which is great.
00:18:06 --> 00:18:26 Ooh, the trust. Love that. Yeah. Nice. So what was the process like choosing the other nine dancers that joined you for the tour? It kind of looked like you were partnered with an agency, the way it looked. And then we recognized a lot of these dancers from other big pop shows as well. So, yeah, what was that process like? Yeah. Well, um...
00:18:27 --> 00:18:55 Beth actually wanted to have an audition. She was very particular in the type of dancers she wanted to have on the show. She auditioned them all. And she just basically wanted a eclectic mixed group of dancers. And it wasn't necessarily about being the best dancer. It's about what's required for the show. Like you had obviously some of the guys that are a bit more feminine, that obviously requires Dancing Hills and
00:18:55 --> 00:19:15 Um, some of the other guys had to be a lot more masculine. So there was definitely, she wanted a collective mix of guys. Different looks, different colors, different ethnicities, just a mix. But she was very particular on who they were as people as well. She's very particular at that. She doesn't want bad energies around. She doesn't like, uh...
00:19:15 --> 00:19:35 people that are not there for the right reasons. Because again, the show, we're part of the show, we're not the main attraction. And that's something that some dancers tend to forget at times is that it isn't about you. It's about you supporting the artists that make them better and greater. And she just wanted people that were going to be there for the love and passion.
00:19:35 --> 00:19:51 what they do for the arts, not necessarily being there, oh, I'm on stage on one of the biggest tours. Which again, you're allowed to feel like that, but there's a difference when you're supporting the artist or you're trying to be the artist yourself. And I think she really thought about
00:19:51 --> 00:20:17 who was she was going to put on the tour because again 10 10 guys it's a lot of testosterone that's a lot of energy to try and deal with so um yeah she she definitely took her time picking as she wanted and i think she she got a spot on to be honest like every single boy that was on that tour incredible amazing human beings worked extremely hard like just wanted to do the best for the show
00:20:18 --> 00:20:28 But at the point of what, there was like, they were getting frustrated at times when they were messing up. Because I didn't want to get it right. Like, which is great to have, which is so good to have.
00:20:29 --> 00:20:48 Yeah, I always tell people, like, you got to think about the name on the front of the jersey as opposed to the one on the back. I respect that. Oh, to be a part of such a nice team. And you guys were rehearsing for the five weeks you mentioned, right? So what was the rehearsal process for the tour? You mentioned those five weeks, but what was like a day-to-day once you finally got started?
00:20:49 --> 00:21:00 So we started around 9.30 in the morning, every day. Obviously we'll do our own personal warmups. And if you need to do, then we'll do a group warmup with the girls once they come in. But,
00:21:01 --> 00:21:22 First thing in the morning, we'll probably recap what we did the day before. Just refresh it, get it back into our systems, and we tend to move on to a new track before the four guards arrive. Once they arrive, then we'll do all up with them. Then we'll probably run everything that we've done so far, and then we'll move on to a new track. So that was kind of like the basis of the day.
00:21:22 --> 00:21:43 After lunch we'll probably hurry on learning the new track or move on to the next one if we can get that first one done and out of the way. There was also days that they would obviously have to go into sound, but they were doing other vocal arrangements. And obviously picking and choosing who was going to sing wah when it came to Sarah's lines.
00:21:43 --> 00:22:08 And one thing that I really loved about them is that there was so many iconic lines that none of them took. They wanted to play Sarah's voice, they wanted Sarah to be a part of the show, which was insanely amazing. And how Beth put that together to make it seem that she was so present throughout, without making it such a sad thing. It was done so tastefully, like that was...
00:22:08 --> 00:22:30 incredible. So that's pretty much what the day was like. It was like first thing in 9.30 in the morning, then we finished around 6. Yeah. It was a long day. Yeah, true. Long day. You mentioned obviously that everyone was working really hard. The bodies were really feeling it. What were some of the biggest challenges that you had during the rehearsals?
00:22:30 --> 00:22:59 The first couple of weeks was fine. It just said we moved students into a bigger space, which then we, the floor just wasn't as great. So we were all feeding in our legs a lot, but then we ended up getting this incredible physio that was pretty much with us every other day. His name was Paul. And he was just basically a lifesaver. Like everyone somehow he made magic. Like, so when I first got injured,
00:22:59 --> 00:23:20 during covid um i was told i would never be able to dance anymore um and he was the only person i was able to get me back on stage from the space of four months hence why i didn't ended up doing the last little mix talk because i wasn't going to do it because i wasn't able to dance so we had him on the tour and he basically just saved everyone um but apart from the floor it was just mainly
00:23:20 --> 00:23:40 uh retaining the amount of content we had to retain in this that's because five weeks sounds like a long time but when you're learning a new like two or three numbers a day it's like the brain cannot take it all in like i was like i need to figure something out because the brain is not braiding
00:23:41 --> 00:24:07 and we need to find life somewhere. But no, it had been fine in the end, but it was definitely the first couple of weeks were a lot because we had to try and learn as much as possible. So that definitely took a toll on the body and definitely a toll on the brain for sure. Oh, that's valid. You take care of yourself, mister. Yeah, I do. Bye. All right, so just on the other side of that, were there any fun stories or fun moments from choreographing and rehearsing for the show? You know what?
00:24:08 --> 00:24:28 It was more the trial and error thing. Things that we were like, oh, we need bodies to try them on. And then we'll be like, that, whatever that was, let's do that. So there was definitely a lot of those moments. Like, which were gonna have to think of? Jump, jump just, we didn't even do, we didn't even choreograph the number. It just kind of happened by accident.
00:24:29 --> 00:24:55 and we're like okay this feels natural it feels right let's just run with it so there was a few numbers that were kind of like that that just it naturally just came out um we had such a ball in rehearsals that we literally laughed every day it was hectic because one second we're like okay we actually need to stop and focus because we're not going to remember any of this because we're laughing too much but it was such a great environment to be in like i always say that i don't
00:24:55 --> 00:25:18 work to work i work to have experiences and i work to have moments and cool memories um and stuff like that being in a space in a room where every single person is there for the right reasons everyone's working extremely hard but still able to have so much fun and and create those cool memories that's why i do it and that's why i was like yeah this is this is it this is a great team great team
00:25:19 --> 00:25:30 Perfection. That's really good to hear. So how much did the show actually change between the first kind of rehearsal day and the concept at the time to that final production rehearsal before the tour started?
00:25:31 --> 00:25:52 Um, there was a few little probably like track changes that they wanted, they originally wanted to put in the show. They couldn't and then the show was too long. So then we had to cut down a little bit because they didn't have too many songs. Like you can't fit everything in. Um, but again, because Beth is so clinical.
00:25:52 --> 00:26:16 there wasn't that much of a drastic change it was just um things that obviously the show being too long she had to take out um but the show itself what originally she had in mind what it was going to be to wind up being was pretty much exactly how she ventured it which is always incredible to see something come to life like that um but yeah there wasn't there wasn't anything too
00:26:16 --> 00:26:35 Again, she planned this. It took her about eight or nine months to create that whole entire show beginning to end on paper before we even got to the room. So she knew where everything lived. Wow. Oh, so cool. Superwoman. Superwoman. Wow. She is. She really is. Crazy.
00:26:35 --> 00:26:50 Okay, so rehearsals are done. It's time to start this tour. Tell us, give us all an insight. How tough is that tour schedule? What's the show day look like for you? You get up and then bam, what happens? So, okay. I mean, the...
00:26:50 --> 00:27:15 This was a hard one because we were doing two shows back to back, then we have a day off, and then we'll have three shows back to back, then a day off, then two shows. But not all of our days off were days fully off. Some of those days off, we had to travel. So it means that we're probably doing a five or six hour drive. Even though we were on a tour bus, it's still kind of strenuous on the body. So it definitely...
00:27:15 --> 00:27:31 there was days where like, can we actually do this? Because it was a hard show. It was a hard show. There's like, I think half of it when we do Sexy No No No, that whole intro with the dancers, where we're just running around the whole entire set. That, that.
00:27:31 --> 00:27:46 That was the moment where you're like, oh yeah, that will do it. That will do it. Cause I'm about to pass out and no one's left. Like it was hard, but somehow we did it every night. It was weird. Um, so I would wake up in the morning first thing.
00:27:47 --> 00:28:03 most times I would try and get a workout in I think I did a workout five times in the space of two months because I'm like I'm too tired for this and we'll pretty much just have breakfast then we'll probably head into the arena for like
00:28:03 --> 00:28:26 around one o'clock, one o'clock, two o'clock, depending on if it was a new venue or if it was the same venue that we did the night before, because we normally have lunch at the arena. Then we'll probably do our own warmups. If we need to see the physio, then we have a physio there. If there's anything that needs to be fixed in the show, then I'll go and fix it prior as doing soundcheck. Soundcheck was normally around 3.30, four o'clock.
00:28:26 --> 00:28:50 um the sounds there will be like running some of the songs if the girls needed to check in some of the choreography stuff if it was necessary um i'll do notes for all the male dancers um then we'll just check the stage check our quick changes areas to see if everything's set and then we'll pretty much have the rest of the day to chill and do everyone until showtime which normally it would be between 8 45 or nine o'clock
00:28:50 --> 00:29:08 and we'll do our warm-up prior to that. If the girls want to do a warm-up, I'll go and do a warm-up with them, but they normally will really get at just warming themselves up. Yeah, and they will go straight into the show, which will, again, it's like you take a deep breath before you start and go, right?
00:29:09 --> 00:29:36 Let's get everything you've got today and just go with it. And then you just breath play, you're like, ah, it's happening. Two hours, let's go. Literally. It was just like, the whole entire time. So we'll get into the individual songs and all the moments, but what are some highlights for you from across the tour? Are there any cities or crowd interactions or funny moments that stand out? I'd say, you know what?
00:29:37 --> 00:29:59 People always say that dance, we're just dancing, we're not saving lives. And it's really ironic because you get to see people in the audience really go through a journey of emotions. And just those two hours, there's almost like a sense of escapism where nothing else in the world matters.
00:29:59 --> 00:30:15 There's this surge of energy, the endorphins, and everyone's in that same vibe in that moment in time. And it's nothing that you can recreate. It's like that moment is always going to be that one moment. And there were so many of those on this tour because of what I think
00:30:16 --> 00:30:44 what they mean to people, what the tour meant to people, the emotion behind the tour. And there was just a lot of days that we would be walking into the arena and there'll be like people outside waiting to like, say thank you or just like saying, oh, I lost my sister a couple of years ago, coming to the tour, watching Sarah's tribute, just made me released a lot. Like those moments are something that I always hold dear to my heart. So I'm like, these are incredible experiences that,
00:30:44 --> 00:31:02 Again, you don't know what you're doing for somebody until you actually feel it and see it. And you're like, oh, God, no, we are. Slightly changed their lives. And there was definitely a few. There was a little boy. Well, not a little boy. I think he's like 16 years old. But he's in a wheelchair. And he came to watch.
00:31:03 --> 00:31:23 I think like 20 of the shows out of 32 shows and he took pictures of ours, videos of ours, he would send it to us. And at the end of the tour, he made a little card for all the dancers and he made one of those friendship bracelets with all of our names on them and girls allowed. And he just wrote the nicest message. And to think that somebody who's probably
00:31:24 --> 00:31:38 going through so much in their lives. Like, it's probably like, holding on just to hold on and still being able to come and support every single night and beyond that or just living his best life.
00:31:39 --> 00:32:06 and experience it for that, what that moment is for him because it may never come again. So meeting people like him, that's what I always look forward to on these tours. And again, the reason why I think I love touring so much is to have those exact experiences. It's a hard call. It's definitely like a moment. I'm such an emotional person. Oh my God. I cry like that.
00:32:07 --> 00:32:34 I mean, yes, the show was very emotional as well. Like you said, obviously, the girls have gone through a big journey. Obviously, all the Sarah, you know, stuff happened as well. And the show did such a good job of having kind of that melancholy kind of throughout it. But then it was also very joyful as well. So this show also, especially for a pop show, was a very big roller coaster of emotions, I think, for everyone, too. Yeah. So thank you. It was it was so good.
00:32:34 --> 00:32:51 Um, but yeah, so were there any big, like, mishaps during the tour? I know we've seen some fun footage of, like, the motorcycles not coming off. So they have to, like, do maneuver around them. Um, or just little things like that. Were there any big situations you ran into? Well, it's some, it's some...
00:32:51 --> 00:33:14 arenas we had to change the shows blindly just because again those bikes flying over if the roof was too heavy then the bike couldn't fly over so they'll just have to go up and then go go back down but there was a lot there was like little changes like that there was one night the pink curtain that dropped at the beginning of the show got stuck we were like and somehow one of the guys the crew they were incredible crew as well managed to get it down um
00:33:14 --> 00:33:39 there was like little moments that you guys probably would have noticed like the floor was really slippery or all the glasses were slipping all over the place like um one of the guards nearly fell one of the buses caught her really quickly so there's like so many like little bits like that that happened that but it keeps it exciting you're almost just like we just gotta roll roll with it it's gonna happen it's gonna happen um but not again that's been too crazy like
00:33:39 --> 00:33:52 The team that Beth has, they just, she's a perfectionist. So they know she's a perfectionist. So everyone is always on top of their game, which is, again, amazing to have because a show that big needs people that are going to be like,
00:33:53 --> 00:34:11 completely on it. Yes. Definitely. Nice. Yes, well, you navigated all of that very well. I think the funniest one was probably the motorcycles not leaving because I think they were just trying to get around them, you know, with those mic stands. They're going to do it like, where do we go? It's just a stop between mic.
00:34:11 --> 00:34:37 All right, so let's get into the show. So act one, it had Untouchable, the show, Something New, Love Machine, Can't Speak French, Biology, and a whole lot of history. And this first act kind of had a showgirl-esque theme. And we had the dancers in these nice suits as well, dancing with these very glamorous women. So what was kind of the feeling or atmosphere that you were trying to create for this act?
00:34:37 --> 00:34:53 It was more that. Like Beth definitely had the vision of bringing their show going. Because God's Loud always had that show go filled to them. But they were also quite cool and quite edgy. And she wanted to really showcase
00:34:53 --> 00:35:17 pretty much all the elements of who they are and were. And that first act, again, it's just embodying what they kind of are as the struggles that they are. And they're just, yeah, I think it was just like, a really nice, easy way to the show to blend in with all those songs. Like my favorite track,
00:35:17 --> 00:35:45 is definitely Love Machine. And that first act, I love performing Love Machine because it's just so full of character and you were able to really connect with the audience. Like the girls were so committed to the characters. Like we were moving around all over the place. So I love Love Machine. And I think something new into, sorry, the show into something new, those two tracks, gold to me, gold, love it. Yes.
00:35:45 --> 00:36:10 Yes to all that. Yeah, literally. Because I was... Well, we're going to talk about it a little bit later. You mentioned your favorites. We have our favorites too that we want to tell you because bone apple teeth. Okay. Bone apple teeth. But yeah, so Girls Aloud already had all these amazing iconic choreography attached to a lot of their songs. So how was the process finding that balance between the original choreography and then blending those new elements? Like for example...
00:36:10 --> 00:36:22 Can't Speak Friends has often had ballroom-inspired choreography, but this time, there were added elements of the fans, darling. And also having the dancers split into more feminine and masculine teams. So what was that all about?
00:36:22 --> 00:36:52 Yeah, again, that was all Best Vision. She definitely just wanted to bring it to what the world is now. And obviously back then when Girls Are We're Alpha, you wouldn't have seen as many feminine male dancers in the industry. She was like, the song asked for that French kind of feel of things and that ballroom feel. And it feels very Vogue-like a little bit. So she wanted to have the elements of that and create a...
00:36:53 --> 00:37:09 Yeah, just like a French feel, but adding the feminine touch and the fans again and just added to it and made it even more glamorous. Again, that's one of my favorite songs as well. I wish I would have either got the femme dissection. I was like, oh, so jealous. Give me a pair of heels.
00:37:10 --> 00:37:36 You want to ate it off. You want to ate it off. I love the intro as well when they pop up on the end stage. And then they do the really dramatic walk back. And you have the orchestra going. It's so great. Those boys will live in their best lives. Yes. The drama. I love it. I love it. Yes. I also have to give props because biology, of course, is one of the most iconic characters.
00:37:37 --> 00:38:01 choreos i think for girls allowed everyone was doing the chorus together but i actually loved all the new choreography in it as well um so props to you for that yeah well yeah again i just wanted to find that balance between uh what was and what's now and i think she really found a happy medium where the fans wanted to see the economy moving like promise again um keeping the original choreography for it
00:38:01 --> 00:38:20 um and again it was just her finding that that balance between not changing it by just bringing it to life a little bit more which i think she she got a spot on because the as a fad you you weren't like oh my god it's all new you were like oh i recognize this it still has the same essence it's just slightly heightened a little bit
00:38:21 --> 00:38:48 Yes, absolutely. I mean, I'm a new fan, but Chris has introduced me into this group. And being able to see them, I'm telling you, the emotional person here, right here, I was silent for the very beginning of the first couple of songs. The entirety of Untouchable, you were just jaw open. Yeah. And I was sitting there like, didn't say a word. Chris is trying to interact with me. I'm like, and then what snapped me out of it made me go, yeah.
00:38:48 --> 00:39:05 was something new. The choreography was so epic. Like watching the girls come down the catwalk with an army was so impactful. Like everything was, it was simple, but the tightness of it, the sharpness of it, the guys behind, all of you behind them doing the full out choreography,
00:39:05 --> 00:39:35 it made me it broke the curse of my like stupor um but yeah i was like wow okay hello they're here choreography was so good the musical direction was great there the moments of you all just posing and hitting those marks yeah again i worked on that number with jeanette the other sister and beth and again beth had such a clear vision of what she wanted we added a few like bits of photography to it but she already knew from day one exactly what else she wanted that number to be it was
00:39:35 --> 00:39:46 it needs to be in your face big bold and just like just say anything and everything without having to say nothing that's what you wanted and I think it did exactly that
00:39:47 --> 00:40:09 Yes, boy, y'all did your damn thing. And you just kept doing it because we're getting on to act two now. And we have Wake Me Up, Sound of the Underground, Girl Overboard, No Good Advice, Graffiti My Soul, Long Hot Summer, and I'll Stand By You. So you have all this going on. You're bringing on the second act. And it's like, while the girls are changing, the dancers have the responsibility.
00:40:09 --> 00:40:18 the responsibility of keeping that energy up and also setting the scene for what's next. So how do you all figure out how to make these moments impactful?
00:40:18 --> 00:40:45 Well, I think as dancers, I think we need to... Well, we're not... I think people do do this, but I think it needs to be spoken about more that we're not just dancers. We have to learn to communicate through movement. And I think that was the purpose you just said, like, how do we set the scene? And it's understanding what the track is, understanding the feeling of the track, and then how can you embody that
00:40:45 --> 00:41:08 to bring that out without having to say anything. We're just using our bodies to express what the song is meant to be, meant to feel like. Like, wake me up. This is a lot more aggressive, a lot more aggressive. Like the girls are coming out on motorbikes. There's like loads of strobing. So the movement has to kind of relate to that. And then how you dance emotionally has to then come out as that as well. So it was really,
00:41:08 --> 00:41:34 It was really great when we got to sit and talk through every song and what every song meant and what was the intention behind every song, which then helped to create those scenes and bring those scenes to life. So it wasn't like we were just coming out and performing to every song in the same way. No, we had to really think about each song was completely different. So we had to change the way we moved and the way we felt and what the intention was that we were trying to portray out between every single song.
00:41:34 --> 00:41:55 Because then you go from wake me up and then next time we really come on stage, just go overboard. Those are two completely different songs with flavor and feeling. So you have to completely change that and your intention as well. And that was something, again, that we sat down and we spoke through and we tried to do our best to get the voice to understand that. And they all did pretty much.
00:41:55 --> 00:42:13 the whole entire show. Like they worked so hard, so hard. And they were really good at switching their mindset. Like the really feminine guys being able to switch from being really feminine to really masculine at the same time. Like even that alone created such a diverse show. Yeah. Because you weren't just watching the British dancers, you were watching characters throughout.
00:42:14 --> 00:42:44 Yes, y'all were playing the characters with the capes and you were shaking your back. I mean, we were at the end of the catwalk. I was eating that evening. Yes. Y'all were definitely serving. So this section includes Girls Alouds more rock-oriented tracks like No Good Advice and Graffiti My Soul. So we noticed that these songs gave the girls and the dancers a lot more opportunities to just have fun and interact with the audience. Are there any fun moments that you remember from these interactions?
00:42:44 --> 00:43:09 oh yeah like you think the fans are crazy they are nuts and half of them are halfway drunk by that point anyway so people want to get on stage people pointing people be like oh me writing numbers of pieces of paper be like i'll see you later like it was hilarious but again because those are the songs that we were able to throughout the audience a lot more we were able to really fully connect and look at people
00:43:09 --> 00:43:29 and like bring them into the energies that we were creating on stage and create that like awesome feel of the show because again it was really easy to just be like oh we're performing out out out instead of like that connection and i think that section of the show feels like that and it needed that as well um and i think again that's something that Beth
00:43:29 --> 00:43:51 wanted to to emphasize that yes we're doing a show but also it needs to bring everyone together to be in the same space at the same time the same feeling um so that was i that's probably one of my favorite parts of the show the moments i get to really connect like the end of jump um we get to like look out and like oh my god like it's happening and i'm
00:43:51 --> 00:44:07 It's great. I love it. I love it. Yeah, I have to say the crowd interaction throughout the show was amazing. Like we go to so many concerts and I have never had this much interaction from both the artists and the dancers as well. Like it was it was so much fun.
00:44:07 --> 00:44:32 So yeah, props to all of you for sure. So another song in the set was Long Hot Summer, which it was revealed that that was actually added as a permanent slot to the set, like very late into the rehearsal process because it was originally part of like a rotating situation. What was kind of behind that decision? Was it just because that song was the most fun to perform? I mean, it was based on the crowd reaction.
00:44:32 --> 00:45:02 It was basically a crowd reaction. Like every single night, the crowd really responded to that song. And the more we did it, the more they were responding to it as well. So I think that was just a decision to keep it. But yeah, it was decided, it was decided like after the first couple of shows. So it wasn't even the rehearsal process. We had started the tour, we were on the road, we didn't love our summer. And then the following day, we were going to change it. But the reception of the first show, we were just like, let's just do it a few more times to see how they receive it. And then it was just like, no, we have to keep it.
00:45:02 --> 00:45:19 we have to keep it. So that happened like five or six shows in. Oh, interesting. Wow. Nice. I mean, I have to say that one tends to be one that's kind of forgotten, I think, among the girls allowed discography. But this tour gave it its moment. It was so much fun. Yeah.
00:45:19 --> 00:45:41 I like. And the crowd of people were in, again, Beth creates a little iconic moment with a little shake. Yes. We were all doing it. We were all doing the choreography. Yes. That's right. We were. So are there any favorite dance or creative moments for you during the second act? Yeah, I think Hot Long Summer was probably my favorite.
00:45:41 --> 00:45:57 Respect, respect. It's like, listen, I'm staying on this one. It's like so fun, so interactive. We got to play around with the girls. We got to play around with the audience. There was a vocal choreography, but there wasn't too much. It just felt really balanced as a number.
00:45:58 --> 00:46:20 Like it felt like there was just so much within it that you could really play around with it and just perform and then really, really enjoy it. Like it's the merch of talking the song and really, really just commit and enjoy it and be in with the crowd without having to be so in your head about the choreography for it. That was definitely a moment in that second act that you're like, oh, this is fine. Like I'm loving my child.
00:46:21 --> 00:46:44 Oh, that was also great in the set as well, because I feel like the five songs before it are just like the energy so high for those. So then it kind of coming down a little bit for Long Hot Summer and then going into I'll Stand By You. I thought that just the transition of that was great. I have to say, No Good Advice was probably my favorite track in this act and maybe in the whole show, but just energy wise. Because...
00:46:44 --> 00:47:08 The crowd went crazy for no good advice. Like, everyone's screaming that, like, bridge and chorus together. And it felt like, you know, you were at, like, a Blink-182 show or something. It gave that kind of, like, more rock, like, moth pit moment. Yeah. So that was just such a peak in energy. And I had some great interactions as well, like, during that. So that was a highlight for sure. Yeah.
00:47:09 --> 00:47:38 No, that was, again, one of my favorites too. Like, the number as well, that it happened so naturally putting it together. It took a while to, like, figure some of the parts are because it moved a lot. But once it slotted everything into place, again, it's a really cool number to dance. Like, I really enjoyed it. Really, really enjoyed it. You know what? Listen, listen, I've got to say, even though you like the free stuff, the free-flowing, your A counts are solid, okay? Girl Overboard wasn't...
00:47:38 --> 00:47:53 soul the circle formations and then the cannon in that bridge section yeah I was sent I was like that that was a little math as well yeah I know you guys like the free flowing but when I saw that I was like bro
00:47:54 --> 00:48:16 If I get a budget, man, I'm gonna get myself some male dancers too. I mean, it just goes back to what we were all just saying. Like, you're not just in the background. You are a part of the picture. And you included the artist in the picture. Even when they sit on your lap sometimes and the girls are just dancing on you all. And you guys are dancing around them. It just felt not like, oh, we hired these blokes. You know what I'm saying? It felt like we're a team.
00:48:17 --> 00:48:31 What was really refreshing is that I've worked with so many artists over the years and some incredible artists. But the level of respect that these girls had for us dancers from day dot just...
00:48:33 --> 00:48:49 For people that have never really met these guys before, and from the get-go, they were so welcoming. They were always looking out for everyone, making sure everyone was good, checking in on everyone. Like, they were just continuously just wanting
00:48:49 --> 00:49:04 to just make sure we were good 24-7. Like, they were incredible, incredible bosses. Like, and some, and you know what? I feel like I've made some incredible friendships. Like, they are beautiful human beings, beautiful.
00:49:05 --> 00:49:29 I love to hear that. Yes. All right. So moving on to act three, we have sexy no, no, no on the Metro jump, call the shots and something kind of ooh. And then of course there was the encore of the promise as well. So in the final act of the show, we talked a little bit about it already. The sexy no, no, no intro is so good. That was such an amazing highlight for the dancers and you all go so full out.
00:49:29 --> 00:49:46 It was amazing to watch. So out. Yes. So Stefano, I believe, was given kind of the center role for this. Yeah. Right? So what goes into highlighting all the dancers and their different strengths just kind of throughout the show? Again, going back to Beth, in her mind, the way she was, she's kind of like,
00:49:47 --> 00:50:17 did it all on paper, figured it all out. But we learned that a week before we went into production. So that was one of the last numbers we learned. So, and it was a lot obviously to try and put it in while you've got all of the time of show to remember all of this stuff. But she just, I think she watched everyone during the rehearsal process. And then she decided who was going to be where for that number, just based on what she saw in the room. And I think Stefano was the right best to be chosen to that whole beginning part. Like the boy is insane.
00:50:17 --> 00:50:46 Unreal. What he can do is just off the Rictuskel. He's flying with air, just lands like a leaf. Just so alive on his feet. I'm like, Jesus Christ, how'd you do that? You're an alien. But yeah, no, Sexy on the Earth was a big number. That was probably the most tiring number, I'm not gonna lie. That was a hard one. I could see that. Yes. Yeah. I do have a great video of you doing it as well at Brighton Pride from a couple of days ago. I will send that to you. Thanks.
00:50:46 --> 00:51:08 But yeah, it was definitely a hard number. And there were so many elements, like us coming up from the main lift, the boy coming off of the main stage, then having to run back, then come back, the whole dark spray, then go off again. Like, there was so much going on. And again, Beth really, she just knows where to play things to take the audience's eye out.
00:51:08 --> 00:51:21 while something else is happening on the main stage and being sorted out. Like, she's just great at that. Yes. Which then the podium was being set for the girls to get onto it. So by the time the lights get back on, boom, we're ready to go into the number.
00:51:21 --> 00:51:42 You are so right. I did not notice. Oh, also, we'll talk about Brighton Pride in a minute, but I love the new change of some of them climbing out of the stairs. Yeah. That was so cool. It was kind of creepy. It was great. Love that. Yeah. Just wanted to point that out. I love that too. That is so fun. I love it.
00:51:43 --> 00:52:04 And it's so fun. So, thinking of fun and funny things, and there's been some things going on on the internet, you know, some footages, some memes, if you will. Especially with Nadine having various issues with the confetti that comes out after Jump, you know? So, did you have any similar issues doing all that choreo doing something kind of ooh?
00:52:05 --> 00:52:20 Babe, we're literally choking in that confetti. Like I've inhaled so much of it. I've slipped all over it. I've got it in my eye. It's gone everywhere. Like if that confetti would go everywhere, but we had no control over it, but it depended on
00:52:20 --> 00:52:37 where the aircon in the arena is. So when it blows out, if the aircon's coming towards us, it's gonna come back onto the main stage or blow whatever direction the aircon is going. So we were just like hoping for the best every night and seeing what happened. We could never know what it was gonna do.
00:52:37 --> 00:52:54 like but the amount of times that i would get off stage and be like open it off like out it was hilarious we just had to roll with it like the amount of times we slipped over it it was brilliant brilliant we should have to get um leaf blowers on stage to get the confetti off
00:52:55 --> 00:53:25 Yeah, it's tough because you can't rehearse Confetti because then everyone's like, oh, there's Confetti in this show. Like, not even a lot. You can't rehearse Confetti. Like, we can't rehearse that. It's going to do whatever it's going to do. So I just wanted to go with it. Oh, man. And the thing is hilarious. She's so funny. Like, I wish she had her own TV show and the camera's just pulling her around because she's just going to say something that is iconically brilliant. But it's not even knowing that she's doing it. And that Confetti was like the bane of her life every single day.
00:53:25 --> 00:53:44 Every single day. It was brilliant. Oh, gosh, that's so good. I mean, I'm still finding the confetti, like, in random. My luggage, like, it does get everywhere later, too. So, yeah, any favorite kind of creative or dance moments for you during this third act that we haven't talked about yet?
00:53:45 --> 00:54:03 I think 16.00 for sure. That's a big one. Again, I did some of On The Metro. On The Metro was really cool because it was one of the first songs that we worked on. I think Jump is probably my all-time favorite moment in the show because of how...
00:54:05 --> 00:54:31 One, it's probably one of my favorite songs of them. Like just, it reminds me of my childhood. It just is a great, feel good song. I'm very energetic as a person anyway, I'm sure you can tell. I'm very, I'm 24 seven. So that song like embodies me a lot. And I think it's just, it was probably the moment in the show where you just felt so free. Like choreography wise, you just felt like, oh.
00:54:31 --> 00:54:54 You can just do and be and it felt amazing about amazing and then going into What was the last song before the full promise? Something kind of ooh Something kind of ooh again iconic song I've always wanted to perform that song with them even when I first started dancing and then get to do it on this floor and
00:54:55 --> 00:55:12 And I watched I watched the tour 10 years ago Because one of my best friends Was on the tour And I was like I need to do that And I gave him to do it I was like It was so good It was so good Those two That second act Jump And then something kind of Oop
00:55:13 --> 00:55:32 Nice. Don't it. Don't it. For sure. Something kind of ooh is probably, but you did almost, you almost did the entire original choreo. Yeah. Yeah. Very, very iconic. But yes, props for the new On the Metro choreo as well. We were, yeah, we were both, you know, doing all the On the Window right back at you.
00:55:32 --> 00:55:53 It's so much fun. Loved that ripple for like right in that bridge as well. Yeah, really great moments. Also, in terms of just navigating the stage as well, I loved the movement of it all. Like two girls coming forward, two girls staying back on the side. Like you really utilize the whole stage as well. So yeah, just loved that.
00:55:53 --> 00:56:18 No, I loved it. Yeah, it was, again, I think we had the sets. We were like, we have to use this to the full capacity. There's no point of just going, oh, we've gone to the front once now. Let's just go again. No, it was like the stage became so immersive. So we wanted to be, we wanted the craft to feel like they were in this zone with us the whole entire time. So Beth really wanted to use the whole entire stage. And I think she pretty much got it spot on.
00:56:18 --> 00:56:35 I like throughout the whole show, you just never felt like you were in one place. You were moving around constantly. And I feel like you could have sat anywhere in that arena and you would have got a really good angle of the show because she didn't leave nothing thought of. Like she thought about every single angle for sure.
00:56:36 --> 00:57:06 Oh, it was definitely felt. But yeah, my fave was probably on the Metro, too. For all the reasons he stated, and Kimba and Nicola were highlighted. I was like, oh. Because Nicola was like my favorite when I first got into the group. Because I was like, oh my God, is that Ginger? Oh my God. So I was like, whoa, they're right here in front of me. So yeah, it was nice to kind of see that. It was, again, it was really well put together. And the final performance of the night was The Promise with the white suits and the big pink leather bands and that beautiful tribute to Sarah.
00:57:06 --> 00:57:35 How did you balance all the celebratory feelings and the melancholic feelings when performing this one? Um... In the... in rehearsal, that was a really tough one. Yeah. A really tough one to have to listen to it, um, and hear a voice, and just get... we have to get used to it. Um, but the way we... thought about it as well is we had... it had to be a celebration.
00:57:35 --> 00:57:43 That was the only way we were gonna get through it. And that was also the only way that people would have left the building off the show on a height.
00:57:43 --> 00:58:07 It was creating a moment of celebration. And I think, again, Beth did that spot on. The tribute was beautifully done. And I think the whole performance and the feathers and the boys in the suits just added to what, how iconic it almost was when it first was released. And it was also a, not a copy, but it was a,
00:58:08 --> 00:58:23 a remake of what they did for the Brick Awards back I think it's 2008 I think. Yeah. And so yes we wanted to bring that same sort of thing to life for sure and I think she managed to do that perfectly to be quite honest.
00:58:23 --> 00:58:38 Yeah, totally. It was a moment. I was like, I'm not going to cry. I'm sure. I had to pull my face down. Yeah, the way the screen was used as well in the front for most of the tour as well. Like that was so beautiful as well. Yeah. Oh, man.
00:58:38 --> 00:59:01 All right, so of course you literally just came off stage a few days ago from performing at Brighton Pride as well to kind of end this run. And I was surprised by how many changes were actually made to the show. So you only had one week to rehearse. So how was all of that for you? Well, it was chaos. It was chaos, but chaos in a way that was like...
00:59:01 --> 00:59:30 we knew we had to do work. We knew that time was... So we just have to learn everything and everything now. Like, obviously, there was new songs added, so we had to do new numbers. And we were just agreeing the numbers in the morning, teaching them in the second part of the morning, and then going ahead and moving on to the second number in the afternoon. And obviously, the set design then changed because of the stage at Brighton Pride. So we had to rearrange the whole entire show to fit on that stage and those different levels that we had. So there's a lot of changes. So...
00:59:30 --> 00:59:43 Our bodies were used to do what the show was, so having to switch that and not let your body go into autopilot was probably the hardest thing. Everyone learned the new numbers quite well, and that was fine, but I think it was more the
00:59:43 --> 01:00:04 not going into autopilot because your boys don't want to do something because the juice to it and actually no you're not going back over there now you're going this way so there's a lot of that those changes but again the girls are such pros they've they they had it down in the first three days i was like wow yes like they had it down the first three days so yeah no it was it was it was a tough week but
01:00:05 --> 01:00:27 Again, it's best. There's no room for question. We just go. We just go. Yes. It has to happen. It has to happen. Yes. Let's just make it happen. It was impressive. I think I was telling you before we started, like, when the stairs started getting set up, I was surrounded, you know, by all the super fans who also arrived there very early in the morning to secure those spots. Yeah.
01:00:27 --> 01:00:52 and um we were like oh my gosh there's brand new staging like we really thought it was just going to kind of be you know more like the intimate show that you had done at shepherd's just kind of on the kind of just a flat stage um so so yeah really appreciate all the effort that went into that and you've mentioned all the new tracks that were added to there was the madonna cover material girl there was watch me go which i was so excited was in there and then i'll
01:00:52 --> 01:01:05 So the Loving Kind, Kings with Ali Alexander. So tons of new choreography, especially Material Girl. There was a lot going on for you guys. So how was it for you working on these new tracks? Any highlights from them?
01:01:06 --> 01:01:28 material go was super fun like super fun to do um again it was one of those things that naturally just came to everyone um beth had the idea she just stopped with a call to fill everyone on the spot we all pretty much just learned it at the same time um again love the track so i was like love for the one to cover um but watch me go i think was probably my fave
01:01:28 --> 01:01:42 to do because i love the song um and i was like after we did this for brian bryde i was like oh i wish i was on the tour because i want to do that over and over again and like it was so fun um so yeah no again it wasn't it wasn't
01:01:44 --> 01:02:11 It all just kind of like, it's just weird. Like everything that like happened, there wasn't that much of like, oh, this doesn't work. It was like, let's just go with it and see what comes out. And it kind of just felt like that. Movement wise. And I think staging as well, actually. Beth was like, I see it going somewhere. So let's just, I'll play this track and move. And she was like, okay, I see it. You go here and it's kind of like maneuvered it all.
01:02:12 --> 01:02:38 Wow, what a brain. What a mind. Yeah, what a brain. I love that. So all of it is done now. You can rest a little bit, maybe dance in your sleep and twitch a bit. But what are some big takeaways from this experience with Girls Aloud that you will carry forward into your dance career? I think, again, building the friendships that I did,
01:02:40 --> 01:02:56 appreciating the love for dance I have. It revitalized how I feel about dance. Um, I was planning to retire this year, uh, just cause I'm heading more into choreography and directing and stuff like that. Um, and it just gave me, um,
01:02:56 --> 01:03:24 I just, I don't think retiring is really an option for me. I think I can put it to one side and if something comes up that I really wanna do, I think I'll go ahead and do it. But for now I think it's given me a way of going, okay, progression, what's next? Where do we move from here? We've danced for 15 years. Okay, and I almost like accepted that I have to grow and let go of dance a little bit, but not fully. Cause before I felt like,
01:03:25 --> 01:03:48 off this tour, that's it, never gonna dance again because I wanna choreograph more. But I think this just gave me the mindset and the choice that actually is not about giving up or it's about letting go of dance. I think it's more bringing it to one side and focusing on the next step and to grow and change and see where else I can go in my progression. And then if something comes up that we wanna do,
01:03:48 --> 01:04:15 I think I was go back and do it. So yeah, that's something that helped me come to terms with it. And also make the choice for myself. I felt like before I was being pushed to focus more on the choreography because a lot of it was coming in. But I think this time I was like, you know what? I've made the choice to do it now, so I'm going to do it out of my choice. I think the show really, really helped me come to terms with it. And I enjoy almost like...
01:04:15 --> 01:04:42 mourn as i was going through the shows going okay okay constantly thinking about it and stuff um yeah so that's definitely something that i would i would take away from the show because it was very very very special it was almost like again a full circle moment to being one of my first jobs when i was came out of college about 16 years ago to now being probably one of my last ones so yeah i was i was quite proud that it was a full circle moment for sure
01:04:42 --> 01:05:11 Come on, Pivot. That's so beautiful. But yes, you are so talented. We're so thankful to you. You've been a part of so many big pop moments and have brought so much joy to so many fans. So yes, thank you so much for everything you've done. And we're excited to hear and see what you do next. Yeah, I mean, obviously I'm photographing a lot more. I have a few artists I'm working with. I'm doing a few TV shows. Can't really say much, but...
01:05:11 --> 01:05:26 You'll see it soon. You'll see it soon. But yeah, like, I think I just want to create magic, really. I want to be able to, one thing that I've always prided myself is that my love for inspiring people. I aspire to inspire.
01:05:26 --> 01:05:53 And that's something that I've always wanted to do. When I teach, I want to be able to change my students' lives by fueling them with so much fire and flame that they can go and be their authentic selves. So I want my choreography to do the same. Again, like I said at the beginning, people say we don't change lives, but when you actually look at what dance does with people and how we can move people and change people in that moment in time...
01:05:53 --> 01:06:13 um we do we actually do like people can go into a building and be totally depressed and for those two hours completely lose themselves and get so much energy and endorphins and just you know completely immerse themselves into a show and we have massive part of that um and i'm really and i'm really really proud and i i can hand on heart i can say that i am
01:06:15 --> 01:06:32 That's the reason why I do it. I love it so much. And it's to leave the building and seeing how those people's faces look as they're leaving and how excited they are and how we move them. So yeah, that's something that I want to keep pushing. And I hope I get to inspire a lot more people around the world.
01:06:33 --> 01:06:50 Let's go. Yes. So where can people follow you on socials to keep up with what you're doing? Yeah. So I'm on Instagram and it's clodamob with a one at the end. I don't know why I did that, but. Because it's only you. It's only one you. You're number one. Exactly. You're a weapon. The only one.
01:06:51 --> 01:07:09 Number one. I'm mainly on Instagram. I was just starting off TikTok. I'm starting to understand it. But yeah, and this is the same. Call them all on TikTok as well. And yeah, I post a lot. Again, if you're in London, you want to come take classes. I teach at random. I do pop-ups just because of work.
01:07:09 --> 01:07:25 So again, hit me up. And especially for students that can't necessarily afford, and then prices may be a bit too high, just hit me up. I normally have free passes that I give out to all my pop-up classes. So if you need it, just let me know, because we're in this together.
01:07:26 --> 01:07:52 Oh, see? Come on. Come on. Let me like you. We have to make a difference. We have to make a change. That's what we're here for. Come on. Oh, starting with the man in the mirror. Okay. But yes, a louder music fan, people who appreciate dancers. I hope you all have enjoyed this interview. And be sure to let CCTV know who you'd like to hear on the show. Because we're going to have a lot more guests, of course. But let us know who you want to hear.
01:07:52 --> 01:08:15 Okay. You can also message us at CCTV pops on all social media, and you can join us on Patreon. Don't forget. And please give us a like, subscribe to our channel and hit that notification bell. And for our listeners, give us a rating and review on your podcast platform of choice. Until next time, that's Chris. That's Bob. And that's Chantel.