He barrels headlong into answers without wasting much time thinking about them, doesn’t hesitate in whipping out his i Phone to show us pictures of his (admittedly adorable) two-year-old daughter Mimi, and is clearly proud of the quartet’s fifth album, which is bolshier, louder and more in-your-face than ever before, if that’s even possible. “We’ve gone full circle,” he says, nodding enthusiastically. “He’s always being creative, bless him – he can’t stop,” Meighan laughs.
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He seems, in many ways, to be two people rolled into one: tipping a balance between self-confidence and arrogance, chest-thumping bravado and insecurity. It’s the best thing we’ve ever done, without a fuckin’ doubt.
He has a Gallagher-esque talent for insults, once referring to Julian Casablancas as a “posh skier” and Justin Timberlake as a “midget with whiskers”, but when we sit down to talk to him about the album the next day, he is warm and sincere, a likeable bundle of manic energy that has no doubt been enhanced by the wine that he’s been quaffing for most of the afternoon. I know I say that about every record, and excuse me – but it is.” – began writing new demos.
They have spent most of the past decade pegged by many as lad rockers, barrel-scrapers, knuckle- dragging musical neanderthals not fit to lick Oasis’s boots – but whether you’re a fan or not, you can’t deny that Kasabian have come up in the world.
The day before we meet Tom Meighan at a posh Gentleman’s Club in central London, we’re part of a group of European journalists who’ve been ferried to Abbey Road Studios – Abbey Road, no less – for the first playback of the Leicester quartet’s new album, .
He’s got so much shit, computers, numbers and words going through his brain. That’s pretty much it.” There is an undeniably dance-oriented aspect to many of the album’s songs, which Meighan claims is a result of tapping into the music of their childhood.