I just returned from an amazing tour in Europe as the support act for the 40th Anniversary for ‘Tubular Bells For Two’, a show by two amazing Australian artists Danny Holdsworth and Aidan Roberts (The Maple Trail, Lanie Lane, Belles Will Ring). Together we played some of the biggest and most beautiful rooms in Europe – such as E-Werk in Koln and the Union Chapel in London. They’ve continued on for Edinburgh Festival while I did some of my own shows in Switzerland then headed home to Australia for the Sofar tour. I’ve also just finished composing 20+ tracks to accompany a series of films about Australian wildlife, which was a great experience.
Hey Brett! We noticed you’ve been a bit sick recently. How are you feeling?
I’m much better now, thanks! I’ve pushed myself a little too hard lately. Always learning how to take better care of myself. I’m just not very good at saying ‘no’ to things. Unfortunately I missed a show that featured Ainslie Wills and All Our Exes Are From Texas in Melbourne, I was so bummed. But this week I have shows in Perth, Sydney, Central Coast and Newcastle, so better that I’m in good health!
So earlier in July you played your first ever Sofar Sounds show. What was that like?
It was a super interesting experience. I have played similar gigs across Europe and was keen to see how they have developed here. What baffled me most was the quality across all four acts – such a small crowd gets access to so much talent, and only for a donation! I thought The Good Oak was a particularly strong act. I’m curious to see how Sofar varies from city to city.
The Sofar Sounds series is a pretty unique concept for a show, but what’s been the strangest gig you’ve ever played?
I’m sure there are stranger gigs but the contrast I’ve seen lately floored me completely. My last show in Europe was the Union Chapel in London, to 1000+ people in one of the most beautiful rooms in the world. I sang a big note to the huge domed ceiling and as the sound came crashing back on me I burst into tears of joy on stage. I hugged my friends backstage and told them it was the reward for a thousand shitty gigs. Then I arrived back in Australia, flew straight into Brisbane and played three 45-minute sets in a skimpy bar to about 30 drunks. Let’s just say the world is a rich tapestry.
Recently you spent around five months in Germany and you’re already thinking of going back – what is it about Germany that’s got you hooked?
I just got lucky I guess. I met the right people and they introduced me to the loveliest audiences on the planet. If I could generalise, European audiences have both a certain sense of novelty about where I’m from and a level of respect for our craft, that can’t be beat. I have met some truly beautiful, humble, insightful people. After eight tours now, many of them I count as my closest friends. And I’m having similar joy in Switzerland, Denmark, The Netherlands…. Perhaps, perhaps, perhaps in a different era that same curiosity might have existed in corner pubs in Australia? We’re that spoiled for talent here its ridiculous.
It seems like you’re virtually always on the road. How much do these travel experiences inspire you musically?
I’m inspired less by the time spent in airports and on autobahns and more by the hours spent conversing with people after a show. There are so many flavours of people out there. I’d like to think I understand the motivations of the disaffected in Kassel as I do the drunks in Kempsey. Everybody has a story. I’ve met people I’d otherwise never taken the time to converse with, got a sense for how they tick. That is where songs come from.
You released your debut EP, Greenthumb, last year. Have you already started to think about a followup, and if so what can we expect?
I’m busy writing a debut album but not writing nearly enough songs just yet, due to the number of shows. I’m not short of a muse or two either; it’s just a matter of time. I toured the Greenthumb EP with a fantastic band, most of which are on opposite corners of the planet right now, we plan on getting together soon as we’re able, maybe late October into November. All I can predict is a more live sounding record, to capture how these lads sound in a room together, and a promise that a handful of the new songs are without question I’ve ever written.
Going back in time, what kind of musical diet did you grow up on that inspired you to play your brand of folk?
Musical diet? The diet I grew up with was packed with fibre – plenty of substance to it at the time, but quite a lot of it I’m happy to flush out of sight.
I always loved music with a melodic hook and some lyrical intent. That didn’t always mean it had to be folk. The fact that folk became popular of late, and that I’m playing something of that nature, is just a happy coincidence. They might have otherwise coined it something else.
And what’s getting heavy rotation on your IPod at the moment?
Ainslie Wills’ debut album is marvellous. Still stuck on the latest from Vampire Weekend and The Shins. I’m also keen on an ex-pat Aussie who has done his best work in Madrid, Aaron Thomas. Hoping he’ll tour again soon.
Because it’s better things together, which living Australian artist would you most like to collaborate with and why?
I’m pretty blessed about the guys who have formed this band I’ve been playing with, so should be pretty content with that!
I did have a fortunate phone call the other day with Elana Stone, and being that it’s fresh in my memory, I’ll nominate her. No matter what genre of music she throws herself at, Elana excels. She is probably too prolific and versatile for her own good. I’m disappointed that for all the critical acclaim directed her way, she isn’t embraced anywhere near what she deserves by a cynical music industry – but also grateful I can still see her perform regularly, and often for less than twenty bucks! I’m not ashamed to say I’ve asked her for (a) singing lessons – she has one hell of a set o’ pipes – and (b) help arranging some of my new songs. She said yes, time permitting. I hope this column doesn’t put her off.
What are your plans for the rest of 2013?
The Sofar tour winds up in September, and I also have a bunch of support shows with Ross Wilson and my first show in NZ. I’ve also been invited to play a festival in Berlin in early October and must trade that opportunity off against the need to write some more songs before album tracking starts in November. Something’s got to give and I hope it’s not my health again!
Where we can see you play next, what releases do you have available and where can we get them?
All the details are at www.brettwinterford.com
FRIDAY 2 AUGUST – Ross Wilson + Brett Winterford, Lizottes (Sydney), Dee Why, Australia
SATURDAY 3 AUGUST Ross Wilson + Brett Winterford, Lizottes, Newcastle, Australia
SUNDAY 4 AUGUST Ross Wilson + Brett Winterford, Lizotte’s, Central Coast, Australia
SUNDAY 4 AUGUST Sofar Sounds, Secret!, Sydney, Australia
WEDNESDAY 7 AUGUST Anthonie Tonnon + Brett Winterford, Portland Public House, Auckland, New Zealand
FRIDAY OCTOBER 25 Brett Winterford , The Manly Fig, Sydney, Australia
