![]() And here we are!ĭid it come out of wanting to write theatre as opposed to an album then? Since those conversations, we came to the Old Vic and talked to them about producing it and they were quite interested. We were speaking about that kind of thing in breaks for The Lorax and I shared with him this idea I had which was about a songwriter who has gone missing and left behind a book of songs that are clues to find what’s happened to that person. Me and David have a shared passion for folk music and storytelling in song. So after that you started working on Cover My Tracks?Ĭover My Tracks actually came out of conversations I was having with David Greig, who’s the playwright for The Lorax and Cover My Tracks. Then coming into this project basically thinking how I can make writing for an album as fun as writing for The Lorax. I loved the process of making that show so much. I used to go to the theatre quite a lot but never really thought of it as a medium to write in. Then it just so happened that the Old Vic wrote to me and it was just this beautiful gift of a thing, of being a bit lost and then having something I would never really have thought about. With Noah we did four records in six years which is pretty knackering! At that point I wasn’t that enthused about making a new record and I didn’t really know what I wanted to do at that point. I think it was doubly intimidating because I at that time was basically a bit burnt out. If you do something for nigh on ten years when you stop doing it, it’s a very intimidating prospect. T-shirt BOSS, jeans CHARLIE’S OWN, shoes TIGER OF SWEDEN We made the first two records for ourselves and then the third was trying to see what we could do if we made something that was written to be sung along to and played at festivals. Then the third record, which was probably our biggest, was a more considered, ambitious record. Then that record sort of gave us a foundation of an audience that’s paying more attention. Then I think I sort of in part responded to that by making a very uncommercial second record, which I still think of as my favourite. I was very green about all that stuff when it was happening. We were making what at the time would probably have been described as nu-folk which at that moment had quite a small audience and people I listened to like Jeffrey Lewis and Bonnie Prince Billy were playing to quite small rooms, so the idea of us making a record that was influenced by that kind of stuff that got crazy radio playlisting was such a shock. There was the first record, particularly around “5 Years Time” which was a huge radio hit and we were really surprised. Some of us were playing with Emmy, so when we were touring together we’d be opening up for her then playing the shows, and then we went off and did our own thing.Īnd how did you find navigating the success it brought? He was just leaving the band to do his own thing and so Emmy was talking about it during the show, and I just went up to her after the gig and was like, “I’ll be in your band!” Through playing with her and opening up for her sometimes on my own, I put the band together for those songs. I went to an Emmy The Great gig and I was just in the audience and she had Johnny Flynn as her bass player. I thought that maybe I wasn’t getting my money’s worth so came back to London. I had a brief stint at university and was staying up all night writing songs and not going to lectures. Obviously Noah and the Whale was a big part of your life. Then over time my relationship to the lyrics has changed so now that’s the first thing I’m drawn to and the thing I feel the most excited about when I’m trying to write. I used to go home and not listen to the CDs but take out the lyric booklets and try and write songs to the words. They’d all come covered in masking tape and I guess it was just the CDs that the record store was trying to get rid of. When I first started writing there was this local record store that would sell bundles of ten CDs for £5 but you didn’t know what you were getting. When I was young, I didn’t really listen to words, I just listened to the rhythm and melody and the sound of songs. I guess I had a slightly evolving relationship with music over time. Was there a moment when you fell in love with music and realised “I wanna do this”? In retrospect I probably should’ve realised that “This Land Is Your Land” wasn’t written by a Northern nurse, but you learn these things. I found out through being at a friend’s house and they put it on. In fact, until I was about 14 I was convinced my mum had written “This Land Is Your Land” by Woody Guthrie because she used to play it so much. ![]() She used to have guitars around the house and she used to play to a folk class in Sheffield, where she’s from we were raised with her playing Bob Dylan and The Beach Boys in the car, so I sort of got into it that way. Shirt MAISON LABICHE, jacket and jeans CHARLIE’S OWN
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