The Myth Of The Happily Ever After was not made under such conditions. There’s a buoyancy about the band – more than usual – an excitement to be doing things and planning things and talking about things that are actually going to happen.
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Though Simon notes from a wedding the trio attended at the weekend that he’s “forgotten how to drink”, things finally look like they’re returning to business as usual.
“I’m sure every everyone you’ve spoken to in the last 18 months is probably gonna say just exactly the same thing,” sighs Simon, “but we felt like we had zero purpose.” Where Biffy’s story takes a turn, however, is that, as with the tone of that record, the end of the chapter came not with a full-stop but a question mark. Even the story of releasing an album in lockdown and have it top the charts – last year’s excellent A Celebration Of Endings – and then not being able to tour it is only really a band name and title change away from being that of Architects, Neck Deep, You Me At Six, Royal Blood or anyone else trying to function as normal in an abnormal reality. And up to here, the story of Biffy Clyro’s COVID-coping isn’t so far away from that of any other band. Simon Neil isn’t the first musician to say something like this. “I think I’d much rather be in a tour bus – it’s more normal.” “Lately, life can be peculiar,” says Simon of this new domestication. Still, the new pace just isn’t one any of them have been able to quite get in tune with. Biffy Clyro have spent the past year and a half, as bassist James Johnston puts it, “Reintegrating into society.” It’s been pretty good, spending time with their wives, meeting neighbours, having a bit of a rest, even if James and his twin-brother drummer had to spend their birthday apart for the first time ever.
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