For those of you who read LA Weekly's print feature on The Mighty Boosh, you know the secret, the British comedians will be playing tonight at The Roxy. It looks to be a short performance and DJ set, similar to the Comic-Con party last Friday. Before that, The Boosh will be at Amoeba for a Q/A session and DVD signing. There might still be time to submit your questions to Amoeba, so check the website.

In the meantime, we had sent a few follow-ups to the group, follow the jump to read the responses from Julian Barratt.

How does the music work in relationship to the show? Do you write a song specifically for an episode or performance or do you write dialog around the songs?

The music comes out of the plot and dialogue. but its a two way street. If there's a character or type of music we're getting into, we'll take the writing in that direction.  Often it's the juxtaposition of a creature and a suitably inappropriate style of music, a transexual sea creature and P-funk for example. It grows more organically than that though. Pretty much everything noel writes starts with the voice, which is a great way to write and very free. I get more tied up in plotting, but then I get to lock myself away and write the tunes and time disappears very agreeably.

A lot of your humor seems to hit on a lot of popular styles of the moment. When you're writing do you ever wonder if the humor will age well? If so, how do you address that?

I think if you're thinking about the future reaction to your work too much its almost arrogant, who knows if we'll even be here. We are lucky that we are able to write the stuff we do and have it find an audience.  We write for our friends and we write what makes each other laugh.

Because the characters we write in the Boosh have weird interests, we can examine the more obscure branches of culture and fashion for a comic reason. They're both idiots and both snobs in different ways. If Vince is into drainpipe trousers one week, Howard will mock him and if howard is getting engrossed in jazz fusion, vice versa.  We can take in turns to be the audience.  Also if a show does stand the test of time (and it's not for me to say ours will) the stuff that dates it can often become the reason for its longevity, a window into a different time. etc

Would you ever do another event like the Mighty Boosh Festival?

We would yes. if we were asked. The Boosh Festival was a fantastic thing. A great day. A promoter had a spare day going at the Hop Farm in Kent, and he came to us (quite late in the day, I might add). We accepted the offer and tried to get a bill together, write a music set whilst preparing our most recent tour. It was a busy time and we probably looked like we had scurvy by the time we arrived on stage but to see so many people dressed up as characters from the show, all joined together because of our stupid little  show made me feel quite humbled. (The sun was just setting too.) I can get a bit myopic about the Boosh, caught up in work load and deadlines and progression and quality and forget that it means something quite different to the fans. It is an escape to a world of weird characters and  musical oddness. I suppose thats the lot of the writer. It takes time before you can enjoy what you've done. In fact, you probably never do enjoy it the way other people do.  That's what other people's work is for.

LA Weekly