By: Quinn Que
Q) Your new album In Light was recorded with minimal editing as single takes. What challenges did this approach present during the studio sessions?
A) It definitely kept us on our toes, but committing to those performances and embracing my perceived imperfections was very important. I needed to emphasise the vulnerability and avoid overthinking it all, which can be tricky in a studio setting where everything is under a microscope.
Q) Could you walk us through your typical creative process when writing a song for In Light?
A) It usually starts with a guitar or a piano part that already has some clear emotion to it. Then, I’ll hum over it for a while until a melody settles. Whilst a few key words and phrases tend to appear quite quickly, most of the lyrics tend to emerge over time. It was important to stay as close to the initial feeling of the song as possible.
Q) The track “Shape of Tomorrow” touches on big data with lyrics like “Your attention is currency, undivided / Pay your fee.” What sparked your interest in exploring this theme?
A) It’s something that we’ve all been observing for a while – the way we’re constantly being nudged, tracked and monetised. I think that lyric came out of frustration. It’s hard to stay present when everything is pulling at our focus.
Q) How did working with Luke Smith influence the sound direction of In Light?
A) Luke brought a real clarity to the sessions. He encouraged space – letting the songs breathe and helping the emotion to be communicated without too much interference, and then not crowding it with production. There’s a warmth and quiet confidence in the minimalism we landed on, and a lot of that is thanks to him and his experience of the process.
Q) “This House” explores being receptive to the energy and history of a location. Was there a specific place that inspired this track?
A) I actually started that song about fifteen years ago and then left it. But then I moved to a very old cottage by a church in Dorset and it all just came together. I think that must have been down to the energy of the place.
Q) The album title suggests a sense of illumination or clarity. What does In Light represent to you personally?
A) I think it’s just about an ongoing shift in perspective – learning to see things more clearly, maybe with a little more acceptance.
Q) What can you tell us about the story behind “New Symmetry” and its closing line “I am leaving a light on?”
A) The song looks at change, at how some connections stay alive despite distance or transformation.
Q) What role does “Interlude” play in the sequencing and flow of In Light?
A) I think it just creates a bit of space to settle everything that’s come before, like taking a breath before delving into the themes of the second half of the record.
Q) Which song from the new album are you most looking forward to performing at prestigious venues like The Barbican?
A) It’s hard to say! Some songs can really take on a whole new identity in a live setting like that and it often catches me by surprise. It’s a very intimate record so we’ll see!
Q) How did you approach the visual design elements with Gary Barber for this album?
A) That was really all Gary, I just gave him a few words and thoughts along with the record itself and some photos of me. Gary brought the Plutchik theory to the table and presented me with the artwork for the album, it was pretty perfect. It’s safe to say I am very grateful for Gary.
“Plutchik proposes that emotions overlap, just like colours on a colour wheel, and can be combined to form different feelings, like different colours can be mixed to create other shades. The title IN LIGHT can be visually represented by looking at the light spectrum as a full range of emotions.’
Q) What prompted your decision to record the album in North London?
A) It’s where I’m based, and there’s a nice comfort in recording close to home. Luke’s studio too has the right mix of warmth and character without being too clinical. That environment allowed us to work in a way that was intuitive and unfussy, which felt right for these songs.
Q) Do you have any core message you’re hoping to communicate with this album?
A) I think it’s just about acceptance really. There’s an undercurrent of hope throughout the album, even if it’s a quiet one. I’m certainly not trying to preach anything, but if the listener comes away feeling a little more grounded or helpful, then that’s a wonderful thing.