Chords for The Killers on how Britain broke Mr. Brightside

[A] It took the sort of comfort, the welcoming arms of England to sort of start the ball rolling.
_ [F#] _ _ [B] We would get these calls that these presidents wanted us to play for them, and then we'd play,
and then we would get that we wouldn't get record deals.
There happened to be a guy from England at
one of the showcases, and he took the demo back with him to the UK and gave it to his buddy Ben
who worked at at Lizard King.
And we didn't really [A] meet _ anybody at Lizard King.
We just got the
record deal, and it was like our last shot.
We all got passports, and we came here in September 2003,
and that was where things started to change for us.
There was a lot of great music coming
out at that moment, and it was coming from both sides of the pond.
_ On our side, you had the strokes and white stripes, and over here, simultaneously, you had
_ Franz Ferdinand, Razor Light, and you had the Libertines.
We were somewhere in the middle of
the Atlantic Ocean when it came to that.
We grew up on a steady diet of British rock and roll and
new wave music, and it was a healthy diet.
I think a lot of us coming up at that time were listening,
grew up listening to a lot of the same music and funneling it through our own towns or our own,
you know, experiences, and it came out how it did.
I once saw an interview _ where people asked
Lady Gaga, who her favorite British bands were, she said, the killers in the Patriot Boys.
[G#] And we didn't think like that at the time.
We just, that was the type of music we wanted to make,
and that was what was coming out of us.
And now, looking back on it, I see it,
and there's a melancholy to it that kind of exists over here that's, you know, that we don't
necessarily tap into in America.
It wasn't like an adolescent music _ genre, and in America,
it just seemed like there was like this gap when you were a teenager or, you know, an adolescent.
Sort of music from over here sort of filled that gap.
I think you had to be like at least 20 to
listen to the Heartbreakers or something.
Our first trip to Glastonbury was in the John Peel
tent, and I was aware growing up of the Peel sessions, and so we had kind of a reverence
for being [E] in that tent then.
And I just remember getting the call to be the surprise band, and
of course, we were happy to do it, but you never know if it's going to be a pleasant surprise for
the fans or if they're going to be, you know, just feel so-so about it.
So _ [D#] we [C#] did it anyway,
and it ended up being _ _ quite a magical thing.
And I don't know why it's emotional when people light
up [D#m] those red flares, but it's emotional.
[F#m] _ It's like [D#] some kind of badge that [B] you're getting.
And we had a little bit of [F#m] nostalgia.
We don't want to get too nostalgic this early, but it was
cool going [C#m] back into the tent.
It's tough for us to answer why Mr.
Brightside has had the impact
that it's had on people, and particularly here.
_ [Bm] _
_ I don't know.
A big moment for me in my life was
I was walking through the Hard Rock Hotel in Las Vegas, and I was walking by the gig.
A guy walked
out and handed me a ticket, and I walked in just in time [F#m] to see a room full of people singing
[E] Don't Look Back in Anger.
And [Bm] it just shook me.
It [F#m] changed me, and it changed the way I think that
we wrote [C#] songs, and that sort of fed into it.
And so I feel like Mr.
Brightside is some sort
of answer to that song somehow, and it's somehow connected, whether you like it or not.
We weren't joking when we said this British music has become a part of our DNA.
It's in there now,
and I don't think I'd ever go away. _ _ _ _