Congrats on the new album – and the Silver Scroll nomination. You can tell that a lot of work went into this release, it’s tight. What was your approach to it – was it cramming sessions in, or sticking to a routine. And how are you finding the balance between productivity and rest?

I did most of the writing at the start of last year, and from there went to work on other projects/commitments for a wee bit. I have a little studio upstairs at The Lab (Mt Eden, AK) and over the next few months I managed to record just about everything that’s ended up being the album. I tried to chip away at it, balancing my natural inclination to work fast, with coming back and revisiting elements and making sure they were right.

Loneliness for Free sounds like a mix between John Frusciante and Goodshirt. Do you have any favourite effects to utilize for your vocals and lead guitar parts?

I guess the tempos similar to that blowing dirt song right? Ha – as for effects, I usually try to distort it/mask it/disguise it, but with both the guitar & vocals, maybe from it being me doing it, it always sounds like me no matter how hard I try.

Lost in the Moment She’d Lost is a great song title. Lyrically do you have a few songwriters that you really admire and why do you think you feel a connection with their work?

I like Dylan & Paul Simon, Mark Knopfler, a mixture of great story telling, and great turn of phrase, those kind of lyrical moments that in two short sentences, call and response, can really make you feel something.

Mike Hall played upright bass on I Took a Train. How do you find other muso’s for the sessions? Is it fairly organic, do you put the word out or is it a bit of both?

I’m lucky in that over the years I’ve become friends with and have worked with a bunch of very talented musicians – Mike suggested upright when I was playing him that song, and we just set it up and did it then and there – so fairly organic.

With The Sounds of Barking Sea Lions you recorded on your old IBM286. Did you use any older instruments or things that you hadn’t used in a while for your Stop and Start Again?

It's not really a gadget so to speak, but I did use my really old classical guitar that I got when I was 15. It sounds like a harp recorded.

I know with my Buzz Tapes recordings, they are old, shitty, recorded with old equipment that only half worked… but due to the creativity I was feeling at the time and the freedom of experimentation, they were some of my favourite tracks to put together. Do you enjoy older recordings or songs of yours from your past that you wrote when you may have had less gear or not known as much technically?

Most definitely! That thing that’s been said before, that limitations are good for getting down to the essence of an idea, and making the most out of what you have at hand is totally true. It's great to look back once in a while and get inspired by an earlier version of yourself.

You have said in the past that you love having the space that the lab provides. Touring puts you in a few different spaces. Has being in different locations around the world affected any of your perspectives or approaches to your life as a musician?

Travel used to seem like a really big deal, and the wonder/excitement of big cities and new territories was sometimes a little overwhelming, that big breath before the plunge. That excitement is still there, but the reality is that anyone can do it, and these spaces/countries are pretty much exactly like ours. There's pubs, arenas, buskers, sound checks, door lists etc – sit in a little seat for 24 hours and you are there.

What were the tough things about being based overseas and how did you get around them?

I missed family and familiarity. Keeping busy was a good way to get around that. I also really enjoyed riding a bike, and drinking cheap beer.

Back to Stop and Start Again - How have the live shows been going around the release?

We just got back from the lower North Island leg, and it was fantastic. I have such a good band, each show was different, it wasn’t a conscious decision, or even discussed, but the songs would just evolve live, and feeling it coming back from the audience is always nice.

What differences are there between getting your live shows going as a solo artist, and as a member of a group?

I’ve been starting these shows with a couple of yarns and songs solo, and then the band joins me. When I play solo the ups and downs/dynamics are obviously really easy to control, and you have a more direct connection with the audience in some respects – I like that feeling of potential failure at the next chord, or losing you way only to find a new one – I like it a bit askew/loose. In saying that, by the time we’d played our second show together, remembering we’re a pretty new band, everyone is on that tip, and it got pretty wide and experimental at times.

Random question: you have mentioned before that you are a fan of Pavement. Do you remember Max TV (they used to thrash the hell out of Stereo), and are there any older radio or TV programs that introduced you to music that you grew up on?

There was a music TV show in CHCH, in the 90’s I think? Called CRY TV, it was amazing, my brother Sam worked on it, and I think it was Petra Baghurst’s first presenting gig – Sam has always been into different stuff, and had access to it at CRY, so I discovered music through that station sometimes – and when I started working at RDU, my mind was blown at what was out there. And my favourite record store of the 90’s was Galaxy Records (CHCH).

From those early years being introduced to music, to now with your latest release, are you happy with the way things have gone and what has the ride taught you?

I guess looking back, I haven’t been able to stop the tap, songs keep coming, I can’t imagine doing anything else, I’m happy with this new bunch of songs. I’ve always been of the mind set that one door closes another one opens, one thing leads to another, what some might consider a failure, you can actually learn from Stop and Start Again.

What would you like to say to your growing fan base here in NZ?

Thank you! And make sure you come to a show if you can.

• 1
  Head Like A Hole
• 2
  Fraser Ross
• 3
  Horror Story
• 4
  Fur Patrol
• 5
  L.A.B.
• 6
  Michelle Rounds
• 7
  Devilskin
• 8
  Coridian
• 9
  The Boondocks
• 10
  Late to Chelsea

• 
  Dream Chambers @ Meow Nui, Wellington - 14/12/2024
• 
  The Phoenix Foundation @ Meow Nui, Wellington - 14/12/2024
• 
  Cassie Henderson @ The Powerstation, Auckland - 07/12/2024
• 
  Frankie Venter @ The Powerstation, Auckland - 07/12/2024

• 1
  APT.
  ROSÉ And Bruno Mars
• 2
  DIE WITH A SMILE
  Lady Gaga And Bruno Mars
• 3
  BIRDS OF A FEATHER
  Billie Eilish
• 4
  TASTE
  Sabrina Carpenter
• 5
  I LOVE YOU, I'M SORRY
  Gracie Abrams
• 6
  ESPRESSO
  Sabrina Carpenter
• 7
  SAILOR SONG
  Gigi Perez
• 8
  LOSE CONTROL
  Teddy Swims
• 9
  A BAR SONG (TIPSY)
  Shaboozey
• 10
  GOOD LUCK, BABE!
  Chappell Roan

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