You released your second album, Sound of the Morning earlier in the summer. How’s the reception been for you so far?
It’s been amazing. You never know what’s going to happen with the second record, and if people are gonna think it’s good. I’m really happy that people think it’s a good body of work. I think that I’ve got better and I’ve progressed. That’s what I really care about is that I’m improving and people think I’m a good songwriter. So yeah, I’m super happy.
Do you personally feel more proud of this one?
I don’t know. I feel like there’s always so much complex stuff with self-doubt in your own work and looking at it from the outside that I tend not to think about it. I’m proud of it, but then I am already beating myself up about how I could have done it done better. But you know, that’s just the way it goes.
What brought you to Bristol in the first place? I know that you grew up not too far away in Stroud, but what was the attraction of Bristol?
I’d been working a lot in London with my old band and had been there loads. I think for me, it just seemed like the most obvious choice. I have friends from my hometown that live there, and Brighton just felt too far away and expensive. When I moved to Bristol it was still quite affordable, and it’s a West Country city so how could I not want to live here? It was the most comfortable move without being too traumatic? When I moved, I’d just been dropped from the label and I wasn’t in the best place mentally, I think it just felt like a nice, safe and comfortable place. It took me a while to find my feet, but you know, I’ve been here five years now.
There’s a great community here music-wise, and across the record, you work alongside a few people who are from or have been part of the Bristol music scene in the past. What was it in particular about collaborating with the likes of Ben Hambro [Lazarus Kane] and Oliver Wilde [Pet Shimmers] that felt important for you?
I think it’s got a lot to do with who you’re hanging out with and when you live in a city, and do music, you gravitate towards fellow musicians. It’s exciting, and it’s really fun to be part of a community of other artists. I met Ben when I first moved to Bristol when he played in a band called Van Zeller, and three of that band became my backing band when I first started the project, and when me and Ben would have a free day, we’d just write songs together. Oliver I knew for a long time but we’d never really hung out, I just thought it’d be fun to write with him. I think a lot of major labels I’d worked with always put me with really big pop writers that were really famous and well known and had all these Grammys and stuff. Of course that’s exciting, but if you’re working with someone that’s your friend, you never know what could come out of a writing session, because you both have a laugh anyway, and you’re relaxed because you know them. ‘Float’, which is one of my favourite songs on the record, was really quick, and it just goes to show that you don’t have to work with these big artists. It’s really liberating to turn away from that side of collaboration.