It has taken Dave Rowntree ages to make his first non-soundtrack body of work outside of Blur, especially when you consider their last album Magic Whip, is almost a decade old. Then again, perhaps it explains why Radio Songs has come out very well indeed - better than the public might have a right to expect, given the track record of drummers stepping out from behind the kit. The album’s electrosonic palette is drawn from all Rowntree's influences, including Air and Talk Talk, with - as we discuss, hints of Robert Wyatt and Thomas Dolby. And more predictably perhaps, Blur. It is surprising just how much Rowntree’s vocal style is reminiscent of his bandmate Damon Albarn, who collaborated on the record only from a distance, giving Rowntree feedback in the form of one page of notes. Now he’s gotten round to it, Rowntree has caught the bug for making solo records, he plans two more over the next two years, provided he doesn’t get too distracted by Blur. His plans to tour Radio Songs this year have been somewhat derailed by what he calls “Blur’s megapolis summer”. And so inevitably then, to Blur. Where does it fit in his schedule and his headspace?“Fundamentally I’m still the drummer in Blur, that’s how I see myself, but if you plot Blur activity on a graph, it’s tapering away to zero, so it’s not going to last forever”. So, how does he feel about stepping out to perform live as frontman after all those years behind the kit? Undaunted is the answer:“It has felt surprisingly natural really. The music starts and you get swept along in it. I’m happiest out on the road, gig every night, different town every day - there’s something seductive about that”. Whether or not the Blur bandwagon keeps rolling, Dave Rowntree looks like he has found himself a second longevous career in music. Support the showGet more related content at: https://www.songsommelier.com/

Gavin Rossdale doesn’t think that Bush's longevity story in the music business as high drama - even though they have had their share of industry shenanigans, let-downs and, for nearly eight years, a split, until the band reformed in 2010. “It's the inevitability - bands might choose to settle for where they’re at. It might be difficult to go from arenas to clubs, but bands have to follow their hearts. And if you don’t, what else are you gonna do anyway”. He hasn't settled for anything like that for Bush, a band that was back at number 1 of the Billboard rock charts as we spoke. Of course, the band’s career is unusual in that this is a British band that made it big in America - but never found anything like as much success in their native UK. Funny when you think about the history of UK bands that have tried to break America - and almost broken themselves in doing so. As the band is about to embark on a major US tour we talk about what happens in preparation, which is a lot more than meets the eye. Getting in the right headspace is vital, and not always easy. To say that Gavin manages his own contradictions is an understatement. On the one hand, Bush and Rossdale's longevity has brought with it a clarity and confidence. On the other hand, all the insecurities of the classic creative mind remain at work. "I don’t have regrets but I reflect on those moments to sharpen my mind going forward. The later part of my career, the youthful ignorance has gone and the horizon is perfectly visible, therefore it hones and sharpens my resolve”. “I’m never content with what I do. I have a very strange process of self doubt and imposter syndrome until something good breaks through - and then I think, “for fucks sake shut-up”, and then I break through it”. Long and successful careers in rock bands are not linear processes, nor are they straightforward to handle, psychologically. But Gavin Rossdale has this longevity thing sorted.Support the showGet more related content at: https://www.songsommelier.com/

The egoless band can go a lot further than most bands. A strong element of that is embracing creative changes of direction - agreeing on it and being brave about it. Let’s face it, something we know about longevity is that taking creative risks is not an option - at some stage every band must do it. As fans, we all have a favourite Bowie album and a least favourite one. The same goes for every band, and that includes English indie-rockers Editors. Impressive then, that Editors have forged a new creative direction not once, but twice. The latest incarnation is hardly as an indie-rock band at all, but as an electronic outfit that has dived wholly into the musical scene that is electronic body music - so much so, they even named their new album (their 7th), EBM.Less a genre and more a philosophy, this certainly makes good copy for the new Editors record. Indeed, keyboard player and backing vocalist Elliott Williams even suggested it could have been on the album’s cover sleeve.They’ve pulled it off with aplomb, with an album that has a motor on it, and absolutely no filler whatsoever. And when you think about it, the move - as radical as it seems - is more an organic evolution of where the band has been going since 2010’s ‘In This Light And On This Evening’. But then, Editors’ career has been an ongoing exercise in managing expectations. As Tom Smith puts it:“We were this deeply alternative band that were there by accident really. We’ve always found inspiration in the shadows, it suits us. It’s why we’re still here”. Editors have navigated a path to longevity that covers the bases: creative shifts, changes of line-up and not getting attached to the trappings of fame. However in the end, for all the drama in their music, this is a band that has survived through pragmatism, friendship and staying grounded. It’s been a Karma Climb of sorts, and long may they go on. Support the showGet more related content at: https://www.songsommelier.com/

Let’s face it, there is a patchy record for solo artists that began in popular 90s bands. Some crossed the rubicon to a credible solo career and some didn’t. While Gaz Coombes enjoyed the full glare of the spotlight of the second half of the 90s with Supergrass, his solo work has surpassed those years in many ways. 2018’s World’s Strongest Man felt like a step forward in this third phase of Coombe’s music career (he has been making music in commercial bands since the age of 15, so let’s call Supergrass his second phase).Gaz hasn’t felt the need to rush things. Since Supergrass split in 2010 (they came together for a resplendent but brief reunion live tour in 2022) he has released four solo albums, each one a steady progression on the one before. But none of his solo work sounds like the band that first made him a famous face and voice. What’s been cool about doing these last few solo records is building up this entirely new fan base, not just expecting people to have come over from Supergrass”.The path to a viable, successful solo career is a pretty precarious one, but it feels like Gaz has found his way on that path. His new album Turn The Car Around continues in the same vein as World’s Strongest Man, showcasing the variety of tricks Coombe’s has in the bag, from classic melancholic songs to nagging grooves and dirty guitar sounds. From this point onwards, he’s pushing himself further. “I’ve called this album the last one of a trilogy, just to force myself to look at my career in a different way from now on. I’ve known where I wanted to take it before but this time I’m not sure. I want to do something different, so it’ll be jazz metal”. Support the showGet more related content at: https://www.songsommelier.com/

Rumer’s arrival struck a similar chord to that of Norah Jones some six years earlier i.e. refreshingly out of time. Those singles Slow, Aretha and their host album Seasons of My Soul arrived so fully formed although (as with Norah Jones) Rumer was another case of ‘overnight success 10 years in the making’.“It was planes, trains and automobiles, that was my journey to getting a record deal and in those days you had to have a record deal. I couldn’t imagine doing a self-release – I didn’t have the knowhow, team or energy. But getting a record deal seemed to be as likely as winning the lottery. I was just a girl working three jobs and trying to survive”. This went on for years and years – almost a decade – of doing low-key circuits, song-writing between jobs and with very little hope of ever getting a music career off the ground - even with that voice. After all, we don’t live in a world where talent rises naturally to the top. Then all of a sudden, at the last roll of the dice, everything happened all at once. Signed by Atlantic Records, Rumer was thrust to the top of the pedestal - signing dinners, showcases, chart success, radio play, then mixing with pop royalty and even invitations to the White House. What followed was an all too familiar tale, a most typical music industry story. Rumer became an exemplar of everything the music industry machine can do. As she puts it on The Art of Longevity:I was like a rabbit in the headlights, just spinning. I didn’t really enjoy it but I was shaming myself for not enjoying it because it was what I had wanted”. Everything goes so fast, you can’t think – you need other people to think for you – and at that point you become vulnerable. Your energy, magic and sparkle is drained from you”.Yet perhaps, she played the right card at the right time. To follow-up her phenomenal debut Rumer released a covers album Boys Don’t Cry, in 2014. She encountered some resistance to that, but she stuck to her guns and got her way. And that album was also a major success. She became something of an expert at interpretation of others’ songs, some of them long forgotten gems. One of the secrets to longevity we’ve discovered on The Art of Longevity is “have the confidence to disrupt yourself before the industry disrupts you”.Rumer did just that and survived to tell the tale.  It's a fascinating journey. Support the showGet more related content at: https://www.songsommelier.com/

The Delines’ world is a sprawling, blue collar soap opera. Flawed characters, aimless drifters, chancers and grifters, barroom fights, beat-up cars, parking lots, convenience store robberies, messed up relationships and broken dreams…the characters are never far off disaster - indeed they are predestined. It’s so romantic, it is magnificent.As a recording band, The Delines are meticulous in rendering that world so perfectly. Their three full-length studio albums are full of the stories that make up this wider soap opera, and with 2022’s The Sea Drift, there is the added context of these stories based in the state of Texas and the Gulf Coast of Mexico. As a concept album you’ll be hard pushed to find anything as immersive. Visual, novelistic writing, music economically played purely as a vessel for the songs, each musician plays with an exquisite restraint. Leading all this is Amy Boone’s voice, so occupying its subjects as to put you the listener into each and every tragic scene. As Vlautin admits The Delines are “a small time band”, just like a music industry equivalent of the small time characters they write, sing and play about. Yet, as we discuss on the Art of Longevity - they are really occupying the same space, metaphorically and musically speaking - as Springsteen or Lana Del Rey. I wouldn’t say either of those artists aren’t the real deal, everyone knows they are. Yet if it’s real music you want, then may we humbly introduce you to what might become your favourite new band. The Delines really are as real as the characters they sing about. Support the showGet more related content at: https://www.songsommelier.com/

In this episode, Fenner Pearson chats to Neil Arthur about his writing process and how he works on the Blancmange albums, with Benge acting as his foil and producer, and his collaborations with Fader and Near Future. Arthur touches on the number of ideas “buzzing and fizzing” around his head that has led to him recording sixteen albums in eight years. This in turn provides an interesting insight into the whole process of releasing an album in 2022 compared with 1982!Perhaps what comes across most clearly is Arthur’s creative energy, from the studio where he records and develops his ideas, through the time spent working with Benge in the latter’s studio, right up to his enduring enjoyment of playing live, including his current tour where he performs with the enthusiasm and energy of someone who obviously relishes performing their music to an audience. And there is no sense that Neil is slowing down: he is in the process of mixing completed albums with Near Future and a covers album with Vince Clarke, as well a new collaboration with Liam Hutton and Finlay Shakespeare as The Remainder, and a new Fader album. On top of that, he will be performing at a number of festivals next year. It’s an inspirational interview, in which Neil Arthur illustrates and exemplifies how a passion for music and a relentless creative energy has directly resulted in his artistic longevity and joyous cascade of albums from Blancmange and his many other projects.Support the showGet more related content at: https://www.songsommelier.com/

After fading from view in the UK after "Strange And Beautiful" (a top 10 hit in 2002), Aqualung was hardly consigned to the legend of the one hit wonder. Instead Matt Hales went to make his name and build his career in the USA - much of it through hard, steady touring - the opposite of his “instant success” in the UK. Aqualung bucked the trend for under-achieving British acts through the naughties, selling several hundred thousand albums and becoming darlings of the cool celebrity crowd, from appearances on Jay Leno's Tonight show to Grammy nominations and cool celebrities attending his shows. Matt Hales became what he calls “inadvertently cool”. How did that happen? By not compromising for one thing. “I tried compromising at one stage, by writing hits and giving the A&R guy what he wanted, but it made me unhappy. So I made the quietest music I could, my Idagio, my quieter version of Pet Sounds. That turned out to be successful anyway!”Hales also established a parallel music career by becoming a successful, sought after writer-producer: collaborating with Lianne La Havas (he produced her superb debut album), Bat for Lashes, Tom Chaplin, Mika, Paloma Faith, Disclosure and many others. This has set Matt free from the curse of every commercial musician out there i.e. not attached to having a hit. Still, despite being a collaborator for hire, Hales has released no less than seven albums as Aqualung. The most recent, Dead Letters, is something truly special. When I heard it I immediately invited Matt on the show to get the inside story on his rather unusual career journey. Hales is often compared with the great & the good, from Radiohead & Coldplay, to Elton John and Talk Talk. It makes sense when you listen to Dead Letters, an album in which he has let all of these influences come to the surface:“This is a record where I am paying homage to the record collection that I was raised on. There is Elton, Stevie Wonder, Bread, Toto - Pet Sounds of course, that’s the muesli I was raised on”. And if you thought the key change is dead in pop music, then Matt Hales is out to prove you wrong on Dead Letters. As he mentions in our conversation, he can literally “do anything he wants”.Perhaps that’s the very definition of musical longevity.Support the showGet more related content at: https://www.songsommelier.com/

Suede (or, The London Suede for our friends in the USA) has reached 30 years in the business (well, minus the seven years the band was officially split in 2003). As singer Brett Anderson hits mid-50s, you cannot accuse him, or the band, of being boring. The energy and vitality of Suede’s 9th studio album Autofiction is striking, as are the band's recent live performances. More than that however, the album is Suede’s strongest batch of rock songs since, well, perhaps since ever. This is all the more remarkable in a sense, coming off the back of The Blue Hour (2018), which was also a superb record, albeit very different to Autofiction, with lush production, strings and field recordings. It suggests Suede is a band reborn, on top of their game. I spoke to Brett on the eve of the release of Autofiction and found him in fine fettle, excited at the prospect of promoting the record (how refreshing is that!) and discovering how it would land with both critics and fans. Not least because in a sense, it is a full-circle record that harks back to Suede’s beginnings 30 years ago (that first EP The Drowners in 1992) but at the same time comes across fresh, confident and modern.This isn’t just another episode of The Art of Longevity but one in which Brett and I discuss the whole concept of the show (which he inspired) - the career arc of rock & pop bands - a process that has "all the inevitability of the lifecycle of a frog”. The way Brett put it himself in the second part of his autobiography, Afternoons With The Blinds Drawn, is thus:“Every band follows the same sort of career arc with the same points plotted grimly along the way like the Stations of the Cross: struggle, success, success, excess, disintegration and if you’re lucky - enlightenment”. Having assessed the careers of many other artists that have guested on the show using ‘Brett’s Curve’ (sic) as a benchmark, how would Brett reflect on Suede’s career with hindsight and the objectivity of wisdom along with freedom from the attachments of the bands earlier career?The answer might surprise you...See the website for the full article and artwork: https://www.songsommelier.com/Support the showGet more related content at: https://www.songsommelier.com/

How to characterise an American indie band over almost three decades and 10 albums, each with a subtly different flavour? One recent review I read described Death Cab For Cutie as “masters of dreamy, emo-tinged Americana” and while that’s rather simplistic, their previous two albums have had a ‘dreamy’ feel, a softer production and reflective almost gentle character (or as Ben Gibbard described one of their earlier records, “Prozac happiness”). The band's new LP Asphalt Meadows has something more vital and varied going for it however, with the band capturing a combination of post-pandemic zest for life with a state of self-reflection. There’s a depth and a mystery to the record that somehow seems fitting with the band’s current standing – one of a handful of longevous indie Americana bands that can make exactly the music they want to make with no interference. Not even from a major label such as Atlantic Records. Ben Gibbard confirms:“Atlantic Records have never once stepped in to change something or baulked at a creative decision we’ve made. It’s been the exact opposite of the horror story narrative that you hear about all the time”. Indeed. The music industry’s elephant’s graveyard of indie bands that signed to major labels but could not make it work may be large, but it does not and will not see the likes of Death Cab For Cutie. Over almost 18 years with Atlantic Records, you’ve made things work - what has been the secret to that?Nick Harmer:“It is a symbiotic relationship. Atlantic has brought stability and worked steadily and have become a dependable band from their perspective. There have been so many elements of luck to it but we’ve both worked really hard on every record”.While Nick is impressed at how many new bands seen to arrive 'fully formed', like all bands of longevity, Ben Gibbard struggles with the idea of being in a position to advise bands now as to how to forge that path, especially in today’s more competitive and less forgiving circumstances.  “The stakes for saying something uncouth in an interview or having a bad show, for fucking up – are so much higher now than when we started. It’s important to remember to have fun. We’ve always gone in with the singular focus of making music that we’re proud of and that says something about our lives”.Death Cab are not always immediately associated with fun, the abstract themes in their songs often coming across more thoughtful and cerebral. But they have arrived in a place where they can enjoy their longevity and let the music go where they want it. Something tells me their fans will be equally happy with the place they are in today. Support the showGet more related content at: https://www.songsommelier.com/