Neil Hannon, singer/songwriter
After making two albums with a chamber music feel, I was wondering, “What’s next?” I started noticing bands like Suede and Saint Etienne, and Blur were also drawing from 60s and 70s influences. I could tell where things were heading. That might sound calculated, but I’d always loved artists like John Barry, the Kinks, Adam Faith, and of course, Scott Walker.
I came up with a chord progression that felt very European—not typical rock ‘n’ roll, almost a bit Pet Shop Boys. While watching the 1995 adaptation of Cold Comfort Farm, I realized the grandmother’s repeated line, “There’s something in the woodshed,” fit the rhythm of the tune I was writing. That line sparked the conversation in the song between the woman and the would-be seducer. Naturally, the guy gets what’s coming to him—that’s just how my mind works. He goes to the woodshed, and the woman’s thugs beat him up and rob him. It was all a setup.
I went back to a galloping snare drum groove I loved, which had worked well on the last track of the previous album. That idea came from a documentary about 60s Eurovision songs, which included a clip of France Gall singing “Poupée de Cire, Poupée de Son” for Luxembourg. I thought, “That’s the best sound I’ve ever heard!” Back then, it was harder to track down songs, so I was working from memory. The engineer, Darren Allison, played the drum part, and I had to layer everything else on top as tightly as possible.
One of the studios had a Hammond organ, which became the driving force behind “Weekend.” When I mentioned the track needed some giggling at the beginning, a young guy working at Setanta said, “I’ll get my sister to bring a friend.” I put them in a booth, and they started giggling nervously. My Terry-Thomas-style voice was recorded separately. I skip that part in live performances now—I’m in my mid-50s, and it would just feel creepy.
Before this, there hadn’t been any budget for Divine Comedy singles, but Keith Cullen, who ran Setanta, knew it would be foolish not to promote this song. We made a music video in Venice. It was my first time trying tiramisu, and I thought, “My God, I’m really living now!” They hired a tall Italian model to hang out with me and look cool, but she was a foot taller. In the shots of us together on a boat, I was standing on a box.
Chris Evans mentioned on his Radio 1 breakfast show that he’d been blown away by a song he heard at a friend’s house—by “Divine something-or-other.” My plugger heard it while in the shower, fought through travel chaos to get a copy to the studio, and handed it over about 10 minutes before the show ended. Chris played it twice.
I was in a cab doing promo in Paris when I heard we’d reached number 14 on the UK charts. I don’t think I’ve ever been more excited. Super Furry Animals had an album out with a song of the same name. They changed theirs to “Something 4 the Weekend” when they released it as a single two weeks after ours. Later, their singer Gruff Rhys gave me a Robin Sarstedt LP he’d found in a charity shop, proving someone had used the title decades before either of us.
Joby Talbot, orchestrator
A friend of mine had been playing cello with Neil, who asked if he knew anyone who played oboe and piano. I remember meeting him and thinking, “Wow, he’s wearing eyeliner! How rock and roll.” Turns out he had two black eyes from being punched by a French journalist.
For the Casanova album, Neil made demos on a four-track recorder. I’d bring manuscript paper to whichever cramped place he was crashing on a sofa, notate each part, and then we’d go into a studio to record. We’d get a couple of days here, a couple there, always begging for more time as we moved from one studio to another—it was a ridiculous way to make a record.I essentially took what Neil had demoed, arranged it, and added a few touches. I conducted the strings, but my contribution was more about the spirit than the performance—though I was one of the voices gathered around the mic to record the “Aaaaah-whooooo!” that introduces each verse.
At the time, I was studying composition at the Guildhall, and many of the musicians on the record were friends from there—the touring band came together later. I brought in Robin Smith to play the trumpet intro for the first verse, and he did take after take until his lips were turning blue. Eventually, he said, “Look, I’ve been here for hours—I think I’m done.” Then Neil’s voice came over the headphones: “There’s another 20 quid in it if you can hit that high note.” That seemed to give him the push he needed. I suppose that’s a lesson in how to motivate brass players.
We were touring mid-sized venues in the French provinces when we got the call to appear on that week’s TFI Friday. We had to postpone three gigs, race back to London, grab a quick shower, and rush to the soundcheck—all while finding a trumpeter, string players, and someone to play the tubular bells at the last minute.
I remember Neil being pulled aside before the show by two women from the record company who gave him a stern pep talk: “Don’t mess this up.” His face was even paler than usual. We managed just one rehearsal, and then we were on live national TV. That appearance changed everything. Before that, we couldn’t get any attention in the UK, but afterward, we went straight back on tour and started getting booked for every festival around.
The Divine Comedy’s album, Rainy Sunday Afternoon, is out on September 19. They tour from September 17 to October 25. The Royal Ballet’s Like Water for Chocolate, with music by Joby Talbot, runs at the Royal Opera House in London from October 1 to 24.
Frequently Asked Questions
Of course Here is a list of helpful and clear FAQs about that specific quote from The Divine Comedy
FAQs About The Divine Comedys Something for the Weekend Video
Q What song and video is this quote from
A The quote is from the making of the music video for Something for the Weekend a single by the band The Divine Comedy from their 1996 album Casanova
Q Who said I had to stand on a box to match her height
A That was Neil Hannon the lead singer and main creative force behind The Divine Comedy He said it in an interview or behindthescenes feature about the music video
Q Why did he need to stand on a box
A The music video featured a very tall fashion model To make the shots look balanced and romantic on camera Neil had to stand on a hidden box so he could appear closer to her eye level
Q Is this a common practice in music videos or film
A Yes absolutely Its a standard filmmaking trick Actors and performers often stand on boxes or have their costars stand in trenches to create a more pleasing visual composition and correct height differences
Q What was the theme or concept of the Something for the Weekend video
A The video has a stylish 1960sinspired aesthetic It depicts Neil Hannon as a playboy character in various luxurious and slightly surreal scenarios including being pampered by servants and interacting with the statuesque model mentioned in the quote
Q Does this anecdote tell us anything about Neil Hannons personality or the bands style
A Definitely It highlights The Divine Comedys trademark blend of witty observational lyrics with a sense of theatricality and selfaware humor Neil often pokes fun at himself and the tropes of pop culture and this story is a perfect charming example of that
Q Who was the model in the video
A The model was likely a professional fashion model hired for the shoot While her specific name isnt always highlighted in the anecdote the focus is on the humorous situation her height created
Q Where can I watch this music video
