May 2001
You can't help but be deeply suspicious whenever the latest fanfare heralds a band clouted with the 'Next Big Thing' tree stump.
Well, Starsailor are the latest in an endless line of bands foisted with the label, in a music business where one single is enough evidence of a stripe of delicious and everlasting genius.
The Wigan three-piece have gone some way to justifying the hype with the singles 'Fever' and 'Good Souls', with their Verve-esque blend of stirring, soul-imbued rock and roll. However, they have some considerable ground to cover if they hope to touch the glory of their heroes, such as Neil Young, Nick Drake, Tim and Jeff Buckley and only time, patience and music will tell.
Fronted by the angelic, 20-year-old booming voice machine of James Walsh,
we met up with the band earlier this month to find out what all the fuss
is about. Walsh was joined by bass player James Stelfox.
dotmusic: How does it feel to be labelled 'The Next Big Thing'?
James W: "Flattering really. There's a good buzz at the moment because it's all new to us but we have a confidence in our musical ability to sit back and let people talk about how good or bad we are. That's one of the strengths of the band. We don't need to blow our own trumpet and we can concentrate on the music."
dotmusic: Haven't you been surprised at the speed�
"A little bit. We never imagined people would like us so much. It's such an honour to play music at a job. It's one of tea things that everyone goes for. All the bands that we admire, Doves, Ed Harcourt are now our peers. It's a strange situation to be in when you're so young."
dotmusic: Are the expectations heavy?
"We're keeping our feet on the ground and concentrating on the songs, not letting it get to us. We're trying to be relaxed and keep the band and crew in a cocoon. We're surrounded by people we can trust."
dotmusic: How rapid has it been for Starsailor?
James S: "Probably about a year since it's gone mad. We'd been playing together for four-and-a-half years in the small clubs in the north west. Then a year ago we played in London, got a great review and it all stemmed from there. So it's been quick."
dotmusic: What were you doing when you saw the review that kicked things off?
James W: "I was on me way to the dole office when it went in. I went to sign on and the woman in the dole office asked me what I've been doing and I showed her the review. I don't think she knew what was happening. When I signed off they started getting annoyed with me and asking what the hours were and I was like 'how should I know'".
dotmusic: Was there a record company scramble after that?
"A little bit. My brother deals with management and he didn't draw us into it too much. He kept us away from it."
James S: "I was ringing him up all the time asking what was going on, but he was calm."
James W: "He just said 'this is the best deal, if you get on with them'. The most important thing is that we get on with the music and don't get involved in the money and all the other boring stuff."
dotmusic: Did you consider signing for an Independent?
"We always tried to shy away from that, because I've always believed it was a myth about signing to a really small label. We just wanted to concentrate on writing good songs and keeping our feet on the ground and remembering where we came from. Signing to a major label, you don't have to worry about all the different aspects, whereas I've heard so many tales from bands who are signed to independent about how they don't have enough money to record or tour. It's quite an eye opener."
dotmusic: How did the Starsailor 'sound' develop?
"Before we bought in Barry, between the three of us we developed a pretty tight sound. We knew early on what sort of music we wanted to do, but the people we got in to play with us were really good but really individual. It was evolving, with us working out how we wanted it to be. When Barry Westhead came in it was like the missing link. He can hold back and has respect for what we're doing."
dotmusic: Had you known him long?
"Yeah. But he was working at a crematorium".
James S: "He was the organ player!"
James W: "He's from a completely different musical background and respects that I'm in to Jeff Buckley and Neil Young and brings his own jazz influence without overpowering it. We've all got similar interest with other artists, who I might never listen to."
dotmusic: What is it that attracts you to the likes of Nick Drake, Neil Young, Tim and Jeff Buckley?
James W: "The naturalism and simplicity of it. I've always been into artists who use everything stripped down and sing from the soul rather being concerned if they sound like someone else. If you're singing about things that have happened to you, even if some of the chords, melodies, might be slightly similar, if it's totally spontaneous, there's nothing to be afraid of."
dotmusic: Like The Verve, you're from Wigan. How were they viewed in Wigan?
"The Verve were local heroes. The strange thing was when they were starting out they had a massive student following and they'd released two great albums before people in Wigan knew who they were. It was a bit hypocritical. It was when 'Bittersweet Symphony' came out, and there was this whole homecoming thing, a load of beered-up Wiganers in checked shirts going to see 'Bittersweet Symphony'."
dotmusic: When did you first become aware of your voice?
"When I was at primary school I knew I could sing. I thought it was something that came naturally to everyone. I found it weird that people regarded it as a talent. The trick is not to think that you're any good. Jeff Buckley could go onstage and have 50 people saying how moved they were and still think 'I sang a note off-key'.
"Always knowing that there is somewhere else to take it is very important. That's something that we all try to maintain. Music is never ending. You can never learn everything there is to know. We've got the opportunity to explore every idea there is now".
dotmusic: How have you coped with the reaction?
"Top Of The Pops was pretty mad. We'd just come to terms with the fact that we were quite cool in a small fraternity and then we were on Top Of The Pops and it was another step to get our heads round. We're getting used to being a band that are known by people who work in garages and shops, because of 'Fever' and 'Good Souls'. You know, it's quite bizarre that all our major heroes and influences never experienced that and they're miles better."
dotmusic: Has anyone come close to losing the plot?
"Not yet"
dotmusic: There's plenty of time. What are the plans for the album?
"The way we want to record it is a balance of 'Fever' and 'Good Souls'. Keep it as live as possible so we can go and play it, but also use the experience of our producer Steve Osborne, and the technology to the fullest - find a happy medium. You can listen to a record that's realty well produced and magnificent, but if people go to your show and it's totally pared down and they don't hear all the sounds, there's no point to it."
dotmusic: When do you start work on the album?
"We begin recording at the end of April and were hoping to have it out in the autumn with a single out in August."
dotmusic: Are you expecting to follow the example of Coldplay in 2000?
"We want to hold back as muck as we can. Keep it small. That's where Coldplay had the advantage. They had all the success but they were on at festivals 2pm, because it was booked months in advance. We want to keep it like that rather than jumping in before our time no matter what happens. In a way, we want to keep people out, so next time they'll want to see us more."
