Few youthful singer-songwriters inspire the kind of awe which has gripped a roomful of folk fans. Having supported the likes of John Martyn, John Renbourn and Davey Graham, it’s safe to say that John Smith has a fine pedigree. Cul-de-Sac caught up with the Devon-born troubadour ahead of his performance at this year’s Moseley Folk Festival.

CdS: What attracted you to playing at the Moseley Folk Festival?

John Smith: It looks really good. Sam from Tunng gave me a glowing report of the 2006 festival. When they asked me to play I said yes straight away.

CdS: You’ve released an EP on Birmingham’s Static Caravan label - how did that come about?

JS: Geoff and I had a little pint in Birmingham after a gig and we had a good chat about the state of things - Static Caravan’s ideas on what’s what really fit in with my plans, so a release made perfect sense.

CdS: How would you describe your music?

JS: It’s hard to describe music, isn’t it. Soft and guitarry, but a bit nasty sometimes. I am very English, in a lot of ways, and my music reflects certain aspects of English folk but I’m also really influenced by American music. I like a good groove, I suppose. Paul McCartney said ‘Winter’ sounds very southern, very tribal, but I don’t know if I hear it as that. Still, he must know more than me.

CdS: What do you make of the folk tag? Acoustic music seems to have undergone a big renaissance of late.

JS: Acoustic music has been going strong, and I take my hat off to Damien Rice, because although his music isn’t exactly folk music, he’s laid a foundation for people like me to stand on, as far as the general public is concerned. I try not to associate myself with any particular scene, and what I do is still very word-of-mouth. The ‘new Folk’ label encompasses hundreds, maybe thousands of groups of musicians, and you want to play with everyone you can. It’s always a mistake for musicians to form a clique, because people get shut out, which is the antithesis of folk as I understand it.

CdS: Where do you draw your inspiration from when writing songs? Are there certain themes which you revisit?

JS: Love, love, love. All the time. It’s the first thing I think of when I try to write. Music is a celebration of life and love. But sometimes it’s death, sometimes it’s anger, and I like to go back to these. An understanding of suffering is a healthy thing. I like the country too. Bloody hands and dark, muddy lanes.

CdS: Are there any other artists who you feel an affinity with, in terms of their approach to making music?

JS: Not really. I know some really prolific songwriters, who come up with genius lyrics in the bath. I play guitar all the time but I only write songs late at night. The songs have to be there, ready to be written, and then I find myself putting them in my book. It’s frustrating when they’re not around. As a guitar player, I’m always amazed by Clive Carroll. He hears music in his head and writes it in notation, then transcribes it for guitar.

CdS: How easy is it for you to get your music heard? Mainstream music radio doesn’t seem to be particularly conducive to giving airplay to acts outside the charts.

JS: You know, I don’t really listen to the radio. I just play a lot of gigs, I think that’s the best way to make an impression on people. Small steps. The radio will come later. All my airplay has come about through people picking up the albums and just sticking them on.

CdS: Have you got any heroes or influences, musical or otherwise?

JS: Tom Waits is the greatest and the one person I’d travel anywhere to watch. He slows the world down when he sings a song. Not many people can do that. I’ve loved supporting John Martyn and John Renbourn, they’ve both been really good to me. No one else can play guitar like either of them. My biggest influence as a guitar player was Nick Drake, and then I heard Bill Frisell, but I would honestly say that I think Nick Drake is the greatest acoustic guitarist I’ve ever heard.

CdS: What’s been your greatest achievement so far?

JS: Supporting John Martyn at the Royal Albert Hall.

CdS: Is there anything you regret?

JS: Buying a Parker Fly instead of a Fender Telecaster when I was 18. I’ve been trying to sell the bastard for three years so I can buy a Tele.

CdS: What’s in store for the future?

JS: Gig after gig for as long as possible.

Simon Harper

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