There’s just no room for the luxury of creation.”“I don’t feel like that any more, I have to say,” he continues.

But the work, it seems, has come forward to meet him just as strongly. So, to apply that to songwriting, a song like I Need You off the new album [Skeleton Tree], time and space all seem to be rushing and colliding into a kind of big bang of despair.

The ‘sweet prairies of anarchy’ as [the English poet] Stevie Smith says.“I wrote a bunch of songs after Arthur died, but I felt they were somehow a betrayal of what we were all going through at the time or worse, a betrayal of Arthur himself; that they didn’t possess the required emotional reach, so I scrapped them. “It’s so easy to go from ‘Oh yeah’ to ‘Oh no’ just before you go on stage,” he explains.Trying to meet Cave eye-to-eye in any conversation about his lost son Arthur induces a feeling akin to stage fright.

I am not worrying too much about writing actual songs as such, rather just amassing a stockpile of lines and thoughts, images and ideas. It just sort of feels beautiful and inspiring. I can see now, with a bit of clarity, that there was something powerful about them that I was unable to see at the time. “Great lyrics.”Curious, charged, Cave is somehow brighter than ever.But that is, of course, not the whole story. It’s like a physical thing. There are another five soundtracks spilling out.Lovely Creatures was ready for release two years ago, but its nature as retrospective celebration felt wrong following Arthur’s death, and Cave put the whole project away.

I suspect it won’t be long before he is up and running at a terrifying pace; Cave possesses a momentum that can knock you over through sheer proximity alone. Like there’s just this thing, and there’s no way to navigate it. Anyway, they are floating around.

Lots of new stuff.”Cave says he doesn’t have much time for overtly narrative songs these days, that they feel restrictive: “The idea that we live life in a straight line, like a story, seems to me to be increasingly absurd and, more than anything, a kind of intellectual convenience,” he says.

Susie and I have grown to understand this. We are vigilant around each other, watchful that we don’t shut down.”Cave feels it’s important to talk about his wife Susie Bick’s work on her successful fashion label, Returning to work himself, returning to the songs on Lovely Creatures and performing them live, more than he could ever have imagined has occurred. The music suggests a wind-churned netherworld in which Cave’s voice rises up in a Dante-esque incantation. But Andrew Dominik found them in my notebooks and loved them and used some of them for voiceover in his film One More Time with Feeling.

I don’t want that. You can feel it pressing against the insides of your fingers.

Like Into My Arms or something like that. This had much to do with Andrew’s film and I will always be indebted to him for this. “It just sort of all came down again.”For each show on this tour, a predominantly instrumental electronic piece serves as a prelude to the band. “Not to answer Skeleton Tree,” he emphasises, “but to artistically complete the trilogy of albums we began with Push the Sky Away.” In the few months after we speak, I get word that Cave and Ellis are releasing their soundtrack for the National Geographic series Mars, and that Cave has written a children’s story. Lovely Creatures – The Best of Nick Cave and The Bad Seeds (1984-2014) is ostensibly the reason why Cave is bothering to do this interview. He tells me he is already writing new songs.

I personally have found that not to be the case. “I feel that the events in our lives are like a series of bells being struck and the vibrations spread outwards, affecting everything, our present, and our futures, of course, but our past as well. People often say they can’t imagine how it would feel to lose a child, but, actually, they can – they can imagine what it is like.“A lot is said about grief, especially the conventional wisdom that you do it alone. “You know, I’m just telling you this, in a way, because one thing I don’t want is people having to come along and involve themselves in someone else’s drama. But he is also slowly attempting to come back into the world, step by step. They are just more expressionistic, subconscious, dreamier and deeper, maybe, than before. In a rare interview since the death of his 15-year-old son, the singer reveals his struggle to write and reconnect with the world after the tragedyIt’s late January, and tonight’s show is part of an Australian tour that marks Cave’s first live performances since the death of his 15-year-old son, who fell from a cliff in Brighton back in July 2015 after experimenting with LSD. It’s hard-to-catch … something about “Far from your eyes in a place where winter never comes … And all along the wind I run … And I return to this place … And all along the wind I run.” In the car, Cave requests this track no longer be played before he is about to go on stage. Get the Nick Cave & the Bad Seeds Setlist of the concert at Ziggo Dome, Amsterdam, Netherlands on October 6, 2017 from the Skeleton Tree Tour and other Nick Cave & … Cave considers this very slowly and quietly, then asks that he be called a few minutes later so he does not have to stand side-of-stage and listen to it every time.

“But if I could just write something in response to anything I say, or develop a quote better with an email later, I’d really appreciate it.”Cave goes on: “The thing is – I feel like there are things I’d like to say about Arthur, but I’ve been too frightened to say them.”He admits that just two months before this tour he suddenly took to bed, unable to get up.

On stage I feel great.

In interviews, he starts to see everything he says appearing as text before his eyes and it becomes hard to say anything at all that’s true. Whether it’s something as narratively detailed as The Carny or The Mercy Seat – each practically a Netflix series in a single song – mighty love eulogies such as Into My Arms and Shoot Me Down, or disturbed internalised reveries on nature and the city such as We No Who U R and Jubilee Street.I had wondered if tragedy might diminish Cave’s work, making the past feeble and histrionic in comparison with the wounded visions of the present.

I have abandoned my office completely and am finding great pleasure sitting at the window in my bedroom, surrounded by my books and just thinking and writing words.


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