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Of course, we also have to play in concert halls. This is our dream when you are a musician - to play in a good, comfortable hall with a wonderful acoustic.

The structural thinking I use in the concert hall is unnecessary to most film projects, and most film composers make better use of the enormous range of pop and other materials and techniques required of them than I probably would, faced with the same challenge.

In 2012 the best venue I played was Union Chapel in London. It's a beautiful room, the sound is exceptional, and they treated us very well.

We played Carnegie Hall, and that was one time where I felt... Carnegie Hall as a legendary, very venerable place to perform. I'd never heard of anyone going into the Hall and kind of standing on the seats and playing throughout the aisles and having the audience stand on the seats. So when we did that in 2013, even for me it was a shock.

Kids now are so used to surround sound and the power in theater speakers, that the concert hall is a disappointment to them.

The one thing I have always felt about musical theatre is that it is, to an extraordinary degree, about construction.

In those days a concert was a personal experience. I wanted to be as close as possible to the audience, and of course big stadiums didn't enable you to do that. It wasn't my style.

It's really a grand old, legendary theatre where the spirits of like Judy Garland and all these great performers have been. The clubs are way more underground.

I love pulling people into concert halls who might not otherwise go and getting their ears tuned.