South African - Musician | March 14, 1983 -
I always love going to New York.
Johnny Flynn
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I can't remember a 'best gig,' and my brain doesn't work in absolute terms like that.
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I had a series of jobs in the small fishing village in West Wales where my family lived when I was a teenager. I worked as a fisherman in the day, and then the skipper and his wife ran a small restaurant - she'd cook the fish he caught.
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I take them both seriously - I don't particularly want to be an 'actor-musician.' I want to play the great challenging parts, to be right for the part, rather than just, 'Oh, he can play the fiddle.'
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My thing about demos is that you usually prefer them to the finished thing.
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My only incentive is to write music that changes me, where the process of making it is a discovery and is true in some way, at that moment.
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I think everyone in their 30s looks back at their 20s and thinks, 'Oh God, if I'd just done this and this, and not done that.'
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My dad was an actor, and he made it all seem quite magical. It felt like a slightly subversive thing, telling stories, when all of my other friends' parents were builders or bank clerks. It's always seemed quite magical to me.
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Weirdly, my dad didn't want me to become an actor, he was always quite resistant to it. He told me as much many times. That just made it more attractive to me.
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When I was young, I was being pushed, against my will, towards becoming a classical musician. I had music scholarships; I had to play the violin and do orchestra practice and that sort of stuff. That meant I didn't get to do any school plays. I desperately wanted to do that.
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I guess I started writing poetry and stuff and then decided to set it to music.
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In my mind, there's usually a fairly definitive kind of narrative when I write. But I don't want to enforce that on other people. I think that's why I like using metaphor so much.
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