#so the fact that sparks were not successful enough in america to permeate my dads cultural worldview

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this week in: my dad is insane

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IN CONVERSATION WITH SANDRA’S WEDDING

Jonny, Joe, Luke and Tom

At the beginning of February, I embarked on an ambitious new music guide for this blog entitled 28 Bands in 28 Days. The idea was to scour the world (well, as best as you can from the couch potato position!) for new and exciting music. With two days of the project to run, all was going well - I had reviewed and recommended bands / singers from Canada, America, France, Sweden as well as the U.K. Having set aside the last two days of the month for New Zealand’s Marlon Williams and Finland’s Those Forgotten Tapes, I was feeling quite pleased with myself when my best laid plans were thrown into turmoil - I had chanced upon the stellar music of Sandra’s Wedding! I knew had to include them in the project, yet I wasn’t prepared to elbow out Marlon or TFT at the last minute. The solution that I came up with was simply to pretend that 2018 was a leap year (believe me, I’ve kidded myself about a lot worse that that down the years) and that there was, therefore, a 29th day and a 29th band. Sandra’s Wedding were in!

If you still haven’t heard the band’s remarkable debut album Northern Powerhouse and the brand new E.P. Good Morning, Bad Blood, then you’re in for one hell of a treat. Described, accurately, as a meeting of The Smiths and The Beautiful South (I know, I know, it can’t possibly be true, but it is, folks, it is!) and here is the evidence -

“Death by Hanging” - Sandra’s Wedding

It was a tremendous thrill, then, to interview the band. My thanks for their cooperation.

Northern Powerhouse, your stand-out debut album, arrived like a bolt out of the blue in February of 2017. How long, though, has the band been together?

Luke: Since sometime in the early months of 2016. Joe and myself had done a couple of little gigs together previously, as had he and Jonny, but the band became official around then. 

Joe: I’d stopped playing guitar for a while before then whilst I was living in Leeds. I’d gotten really into poetry and wanted to be the next Simon Armitage or Thom Gunn for a while. I wrote a lot and posted little bits and pieces online but was always frustrated with how ‘slow’ the poetry process is in the sense that you’d get people saying, “I enjoyed your poem” but you hadn’t been able to see their reaction as they read it, or you felt like they could just be fobbing you off a bit. That period was good because I really got into crafting lyrics and working on atmosphere through language – more so than if I’d just been writing songs as a whole. I did stand-up as well and went to Edinburgh Fringe… I had enough and left early, decided music was what I was probably best at and bought a new acoustic. That’s when I started putting the songs that would become the album together. I started writing like crazy and felt like a light had been switched on after having spent so long in a different headspace. If I weren’t shit at poetry or stand-up there wouldn’t be a band is the crux of this answer. 

There is a real sense of time and place running through each of the songs that make up Northern Powerhouse. Where did you all grow up and which local musicians would you count amongst your earliest and most important influences?

Luke: We all grew up within a thirty-mile radius of each other in and around Goole, except Jonny who is from Castleford.

Joe: A lot of people have influenced me, but not necessarily ‘music’ people. I’m not someone who idolises artists, I feel like it’s more a grudging respect in a way. I listen to albums, songs, certain lyrics and get a bit mad wishing I’d written that. That’s not to say I don’t find inspiration from others, I do just like anyone else. Growing up, my parents always had Magic-FM or Neil Diamond cassettes on in the car so I suppose I was exposed to a lot of easy listening. I wish I had a cool answer; that my parents were into 20s Jazz records and Finnish folk music but my mum loves Elvis and my dad doesn’t own a single CD.  

I once asked Peter Hook what he thought his music would have sounded like if he'd grown up in Skegness or Shrewsbury, rather than Salford, to which he succinctly replied 'shit'! Are northern bands any different to southern bands?

Luke: Of course, but only in the same way that American bands are different from German bands for example. You can’t help but be shaped by your upbringings, and that comes out in the music that we (as in northerners) make. 

Joe: I’m always wary of tribalism. I don’t ever want to swing my dick around and make out I’m better than someone else just because they were born in a different postcode. It’s going to colour your outlook and how you express yourself, obviously, but that’s just human nature. I’m proud of being from a small place hardly anyone has heard of, I sometimes look at it as being a non-league club trying to gain a few promotions and have a taste of some success; a good cup run. 

Northern Powerhouse is a snapshot of life in post-Brexit Britain. To what extent, if any, does the social commentary, expressed through songs such as "Death by Hanging" and "The Spark", reflect your own views, or is the record a character study of the great British public?  

Joe: Everyone’s terrified. People are terrified of change, people are terrified of everything staying the same. I think most of the fuel for the songs comes from how everything gets served up to us. The press in this country are honestly pathetic. Not in a Trumpian “Fake-News” sense, but in a “Let’s tap into people’s anxiety about this topic” sense. The whole Brexit Referendum debate was embarrassing. Grown adults standing on national television arguing about the colour of passports and what Winston Churchill would say if he were still around. Remember when the Panama Papers came out and everyone just did an Alan Partridge shrug and carried on arguing about how we can dig our own vegetables after Brexit? You couldn’t make it up. Billions of pounds being withheld from public services and we’re all arguing about the most inane stuff. The songs are vignettes where all these feelings are present, I can understand why people feel the way they do for the most part. I suppose when I look back on that album I’ll remember that year where everyone went fucking apeshit.

Even though you're tackling some heavy themes on the album, from unemployment to spousal abuse to capital punishment, there is a humorous touch in evidence right throughout the record. You're following in the footsteps of Ray Davies, Chris Difford, Paul Heaton and just about every other leading British songwriter in that respect. What is it that makes you all take such a tragicomic approach to your craft?

Luke: If you didn’t laugh you’d cry! I think there’s a long tradition of finding humour in tragedy in this country, and it brings us all together in trying times. Jonny: Absolutely. I think finding beauty in the dark moments of life is a real art form - I like to think of Joe’s lyrics being in the same vein as Edward Hopper’s paintings – just capturing those little moments of sadness in life and creating a little vignette around it. Imagine the painting Nighthawks but set in a Working Men’s Club in a small mining town and you’re on the right lines. 

Joe: Nobody cares about happiness. Imagine having a happy friend. Hell. 

How do you approach the discipline of lyric writing? Do you spend a  lot of time in cafes and pubs observing people, notebook at the ready?  

Joe: I have done that in the past. I like to remember little scenes and turns of phrase. I think Alan Bennett is a bit of an influence in that respect. Bennett can take the most mundane exchange and turn it into something beautiful. I take a lot of artistic license, create little worlds and characters. The Day Before You Came by Abba is a song I think about a lot – it’s so dull it’s genius. 

There's a definite air of nostalgia that hangs over the album, with Old Spice aftershave, The Yorkshire Ripper, Bernard Manning, Northern Soul and the Chelsea v Leeds 70's football rivalry all namechecked. It permeates the new EP, too, with "Saturday Night Television" guaranteed to remind us of a bygone era. Lou Reed said that "I don't like nostalgia, unless it's mine", but I get the sense that you're more interested in a form of communal nostalgia? Luke: I think the fact that we’re all just about the same age means we find it remarkably easy to fire off each other’s nostalgia glands. One mention of a shiny Charizard or finding a Tazo in your crisps sends all of us into a nice, warm, fuzzy place, and the fact that a lot of our fans and listeners are in the same sort of age bracket means that they all wear the same rose tinted, 90s flavoured goggles. I think Joe writes from an age older than his years though from time-to-time, and has a natural ability to relate to people of just about any generation.  

Joe: That comes from being taken to the pub a lot as a kid. My dad played pub football and the pub was where people held events so pub-coke was something I spent a lot of time nursing. I often wonder about what pubs will look like in 20/30 years  - young people don’t seem to go out anymore. I digress slightly but read “Church Going” by Philip Larkin and imagine it being about pubs instead. Depressing. 

Which songwriters have had the biggest impact on your own work?

Joe: As I said earlier, I don’t have any HUGE idols. But in terms of wishing I could have produced anything as good as they have; Adam & The Ants, Beautiful South, Chumbawamba, Deacon Blue, Eels, Five, Gerry & The Pacemakers, Housemartins, Iris Dement, John Prine, Kool & The Gang, Lisa Stansfield, Mike & The Mechanics, Nick Lowe, Orbison (Roy), Paul Young, Queen, Richard Hawley, Super Furry Animals, Talking Heads, Uzbekistan National Choir, Val Doonican, Wham, X?, Yann Tiersen, Zombies. 

Joe's lyrics rightly attract a lot of attention - they'd be on the National curriculum if it was up to me - but your tunes are incredibly infectious too. Do you all have a hand in writing the music?

Luke: It’s a very communal process.

Jonny: Yeah, Joe generally brings the song in as a chord structure and we work on and around it. I’m a strong believer in the idea that the song is all that matters, so if it needs a wall of guitars layering up to make it work then so be it, but I’m equally as happy playing something sparse or even nothing at all if the song needs space to breathe. We’re not averse to picking up other instruments like a mandolin or a keyboard if it fits the feel of what we’re looking for. Who inspired you to take up your particular instruments? Was it another musician, a parent, or a teacher, for instance?   Luke: My dad plays drums, and so they’ve just been a part of my life since birth. I’ll never forget playing my first ‘1-2-3-4’ in a back room in the now sadly closed Electro Music in Doncaster, getting the bug and never turning back. 

Jonny: I initially found it hard to connect to the guitar – or at least what I thought the guitar was - because I thought it had to be shredding and metal which was what everyone I knew was into playing – and that’s fine, but just not my cup of tea. For me to discover the playing of Johnny Marr, Peter Buck, Tom Verlaine, John Frusciante and Roger McGuinn was a game changer because suddenly I found people using a vocabulary on the instrument that I’d never heard before – a little like hearing French for the first time if you’d grown up only thinking the entire world spoke English I guess! 

Tom: When I was fifteen all my friends where picking up an instrument and forming bands and naturally I wanted to be part of that. My parents bought me my own bass and after spending a somewhat wasted year at Goole Sixth form in which I mostly skipped lessons to jam in my parents garage, but I eventually started studying music at a college in Hull.

Who is Sandra? Does she exist, or is she a composite character? 

Luke: Sandra is a wife, a mother, a daughter, a lover, a timid wallflower, a destroyer of worlds, a maneater, a vegan, a shoulder to cry on, a dinnerlady, a career-woman, a homemaker, a manager, a band-leader, a figurehead, a feather, a sledgehammer, a Friday night out, a Saturday night in, she’s whatever you want her to be, and she’s the best at it. 

Joe: She gets on my wick.

It was Jericho Keys, of BBC Introducing North Yorks, who first piqued my interest in the band with his tantalising description of the group as 'a cross between The Smiths and The Beautiful South'. However, I've subsequently seen that quote amended to The Coral and The Housemartins. Which is the correct quote and which bands would you happily compare yourselves to? 

Jonny: I think The Coral comparison was one he said when he played our first single, and then the other comparison was after we subsequently did a BBC Introducing session on his show. He’s a great guy and we’ve had fun on the show when we did a session with him. Luke: The Smiths and The Housemartins are the two that we tend to hear most often. Comparisons to The Housemartins aren’t too much of a surprise, being from the same (sort of) area their influence is bound to rub off, and I think it’s clear the influence Paul Heaton has had on Joe in particular. The Smiths isn’t a bad shout either, our Jonny is influenced in a big way by their Johnny and his mesmerising arpeggiated playing. 

I have to put my cards on the table and say that Northern Powerhouse is one of the best debut albums of the past decade. As you look back on the studio experience, are there things that you would have done differently, other songs that you might have included for example? Tom:  It was an unusual experience when it came to recording as at that time the four of us had never been in the same room before and had only ever rehearsed as a three piece band with Jonny writing the lead guitar parts to homemade demos and then dubbing them over in the studio. I don’t think any of us are really happy with the overall sound of Powerhouse but I think that’s because we’re by far our own worst critics. The positive response it has had since though has been beyond our expectations and helped us to be less self critical of it. Luke: I guess the first album is always a learning curve, so it’s hard to say if there’s anything we’d have done differently. I think the track list is solid, and although there are demos of other songs kicking around from the time I think the strongest ended up on there. 

It's an album choc full of brilliant pop songs, but the bittersweet ballad "Hollywood" has taken on the form of an all-time classic.  Do you know straight away when a song sounds like the real deal? 

Luke: Personally, no. I can’t speak for the others but, although I always enjoy it when a song comes together, there’s no way of knowing if it’s going to be ‘the real deal’ without putting it out there and seeing what other people think of it. Hollywood is a case in point. We all, obviously, love the song as any parent loves their own child, but the reaction it got since we released it has been phenomenal and has surprised all of us. You know you’ve done something right when strangers stop you in town to tell you they ‘love that one about Goole!’ 

Jonny: When Joe sent me the acoustic demo for that track I was a little blown away by it. I sat with a twelve string guitar trying to encapsulate exactly what the lyrics made me feel, which is why I tried to find some weird chords that are heartbreakingly sad and also weirdly optimistic. It does seem to have connected with people from the area – someone made a fan made video to it with a bunch of nostalgic images of Goole in it, and it ended up with something like 30,000 views in a week on social media which was weird. 

Does it give you pause for thought that even though a song of the stature of "Hollywood" or the album opener "This Heart" can mean an immense amount to a fan of the band, that around 99% of the British population are unlikely to ever hear the song? Is that discouraging for you as artists? 

Luke: Not at all. Like any band, the main reason you do it is for the sheer love of it. I’d rather put out a song that means the world to one person than pump out generic pop that means nothing, but just makes for pleasant background noise in offices, hairdressers and building sites. 

Tom: I’d agree with Luke, especially considering how people listen to and discover music now. There is an almost overwhelming amount of music that would be physically impossible to listen to in a human lifetime. We have a small but ever growing fan base that seem to love what we’re doing and as long as someone still enjoys it, well keep doing it. That said a few more monthly listeners on Spotify wouldn’t go a miss. 

In a different era, punk, post-punk, and Britpop, perhaps, you would have been able to reach a far larger audience. Do you feel like a band out of step with the times? 

Jonny: I don’t think many bands out there sound like us at this moment in time – for better or worse! I love lots of new music and there are great bands doing great things at the moment – but my initial influences were all older bands and I guess I gravitate to playing my instrument a certain way. We’re not trying to create a sound that is fashionable or trendy – you’ve only to look at our band photos to realise we are neither of those things – but we make music that is a genuine reflection of us and what we’re about. We’re fully aware that we’re not reinventing the wheel or coming up with a pioneering new sound, but hopefully people enjoy what we do. Luke: Although the music sometimes feels a bit of a throwback, I don’t think we feel out of step. It’s true that audiences are more disparate now, but that just means that people who seek you out are doing it because they REALLY want to listen to you. In times gone by we may have signed a little deal and got into some shops around the country, but now we’re available on the top of Mt. Everest via a device that everyone carries with them every day. The fact that we can be heard all over the world as a result of uploading some files from my front room is fascinating to me.

You have an excellent new EP, "Good Morning, Bad Blood", out now. There's some interesting additional instrumentation on tracks like "Titanic" and "Run, Rabbit Run", does that signpost something of a new direction for the band?

Luke: We’ve always wanted strings and brass, and if we could’ve afforded it I’m sure they’d have been there on Powerhouse too. It’s just nice to be in a place where we can bring in other excellent musicians to help us flesh out our sound.  

Jonny: Yeah, we’re really lucky to know some talented people – David and Anthony who played are great. Anthony’s CV is amazing, he played for the Pope and on the last Gorillaz album, so it was a thrill that he agreed to play for us. But we’re all big fans of The Beatles and the whole “using the studio as an instrument” thing they did. So that could be a trumpet or cello part, but sometimes it’s just those little subtle additions on records that you really connect with and we try to do that. There is a really small dulcimer part I stuck on ‘Good Morning, Bad Blood’ to add that sort of 90s version of the 60s psychedelia that seemed prevalent back then, and hopefully it just adds something to the track even though we’ll never do it live.  We see the recordings as being a separate entity to gigging.  

What are your plans for the remainder of 2018? Is there any chance of an impromptu gig in my hometown of Pontypridd. After all, Mercury Prize winners Wolf Alice rocked up here for a gig in the local Municipal Hall last year! 

Luke: I’m a quarter Welsh and embarrassingly I’ve never been! We have spoken before about a tour of the nations, four gigs in four days, one in each country. I’d be well up for nipping to Pontypridd if I can convince the rest. 

Following on from the release of the excellent "Spite Christmas" last year, can we expect another tilt at the highly prestigious Christmas No. 1 spot this year?

Luke: Watch this space…

“Hollywood” - simply one of the best pop songs ever written!

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