With the album’s reduced commercial clout and declining role in music consumption, a dilemma crops up for all long-established bands involved in the endeavour of making a new LP record. Put simply, why bother? Why toil for four years on a body of work that distils 100 song ideas into ten tracks, spending a fortune in the process, only to see it flash across the charts and then evaporate into the mesh of 100 million songs? It’s an existential question for Ricky Ross of Deacon Blue, who told me:

“It’s sort of madness really, when all the good songs and books have already been written. Who wants to hear what’s in my head or what we’ve created as a band? Does anyone even sit down and listen to an album now? But I think of it in the same way as poets, novelists and filmmakers. It’s still worth doing if you feel you can do it well”. 

Arguably, new albums have been especially challenging for Deacon Blue in part because the band made one of the most accomplished debuts ever, 1987’s Raintown. With its themes of growing up in Glasgow, work, money, expectations and dreams, Raintown is as universal a concept as any record and yet it is fundamentally a musical tribute to Glasgow that most Scots are really proud of. It set a high bar for Deacon Blue, and yet the band went on to have acute commercial success with the four albums that followed between 1989 and 1994, rounding the period off with a Greatest Hits compilation (remember them!) Our Town, in 1994. The band then split, and you can’t say they didn’t quit while they were ahead. They each went on to have their own multi-media career ventures, acting, writing and presenting, effectively avoiding the inevitable mid-career slump of many of their contemporaries. 

Alas, they came back together in 1999 and the second act has been a classic post limelight affair. A string of lower key albums placed them firmly in the ‘for fans only’ vortex of music careers - perfectly sustainable and yet largely forgotten by the mainstream. It hasn’t stopped the band hitting creative highs with albums though, notably 2014’s A New House  and the outstanding City of Love in 2020. But when the journey continues, where do you go next? 

The answer seems to be ‘full circle, then forward’. New album The Great Western Road arrives on a momentous anniversary for Deacon Blue, it is 40 years since songwriter and frontman Ricky Ross and drummer Dougie Vipond created the group’s first incarnation. With the opening title track set in Glasgow, it’s more than a nod to their debut (indeed, the title track echoes Raintown’s opener Born In A Storm, a ‘Gershwin meets Glasgow’ classic). The band reunited with Raintown recording engineer Matt Butler and so were clearly ready to revisit their origins. But as the new album unfolds, so does the metaphor of the band stretching out further and further. The result is a bunch of songs that reflect the sense of expectation of their early work with reflection, perspective and a contented resignation. Classic country songs How We Remember It and Curve of the Line are particular highlights of a mature, grown up pop record. 

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A new album release by your favourite band is an important event. Thank god for this. A new album is a reprieve, an escape, a comfort and a joy. Of course, to experience all these emotions you do have to take the time to really listen. I particularly love that a record has the power to be your own personal time machine. When I first played back the new My Morning Jacket album, simply titled is, I was transported back in time to the late 70s, back to my childhood. A time of albums on vinyl or cassette, played on ‘music centres’ (that’s what we called hi-fi systems in Northern England back then). A time when ELO or Supertramp, or The Stranglers or Queen, would make albums consisting of singles with accessible catchy melodies mixed with more exotic, experimental songs that were probably marked during the recording process as ‘album tracks’. A time when you could expect each and every album released by a band to have a different, distinctive character from the last one. It was a time of greater attention and patience and a slower, simpler time of life. 70s memories are especially magical for me, so a soundtrack courtesy Jim James & co is a total treat. 

It isn’t fashionable music that My Morning Jacket creates. Indeed, their alchemical meld of alt-country rock, alternative country/Americana and late era Beatles-esque psychedelia make MMJ sound always like a band out of time. That’s just how Jim James intended it. Music perfect for sucking you into their timeless orbit. And no real desire beyond that. It’s the way Jim James operates these days. Put your best work out there into the universe and then what will be will be:

“Of course we all want our work to be successful, me included. But I’ve ridden the rollercoaster so many times now, I know the outcome is always the same, whether people like a record or not, I still had to deal with my own depression and self loathing. External validation will not fill that hole, you can only do it yourself, love yourself and try to see things more clearly”. 

MMJ have never shied away from dissonance, off kilter time signatures and ear-splitting guitar work, but there is always the emergence of beauty from the noise. This abruptly contrasting style takes a backseat on is. Instead, the songs are what matters most on this album. Legendary rock producer Brendan O'Brien (Pearl Jam, Springsteen and ACDC) has pushed Jim James and his band to be even more in service of the songs than they have been before. But the melodies and grooves are so strong, it works wonders such that the album stands up as one of their best so far. Pretty good show after 25 years and 10 LP records.

And Jim James loves LP records:

“I love the album as an art form. It’s important as artists to do what you love, and don’t worry about the world and what the world’s gonna do. It’s cool even if people love one song, but if they are gonna take the journey of the album, that’s my dream. We aspire to make music in that format, but even if one person loves one song, that's still so awesome”. 

Yes, yes it is. 

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Great bands and great records shouldn't come down to a competition, but by way of bringing it to your attention, Tindersticks’ Soft Tissue was my choice of 5th best album of 2024. I’m touched that Stuart Staples seems genuinely pleased to be on the list. 

Alexi Petridis’ review of that record in the Guardian was so good I read it a few times. 

“If the overall message seems to be about noticing beauty in small things as a bulwark against the ghastliness of 21st-century life”.

That captures the mood of the album in precious few words. I found myself drawn into Soft Tissue…seduced by it really. From the opening song, New World, and its topline “I won’t let my love become my weakness” it got me, and the rest of the record buried itself into my brain even though I couldn’t pinpoint why. But as Stuart Staples attests, the best music connects with us in a way that is beyond analysis:

“If a record sets things off, gets you searching for something or looking for meaning, then it's doing its job. If we understand it too much, it's kind of dead, whereas if there is mystery to it, space to try and understand it, then it’s alive”. 

Tindersticks music is beyond analysis but that hasn’t stopped me consuming everything written about the band over the years with almost as much hunger as their music. What makes them such a well kept secret? In the book Long Players, author Eimear McBride’s essay on the second Tindersticks album (the band is rare in every sense, including the dubious accolade of being a band with two self-titled albums, the debut and its follow-up). 

“There’s a true, if disconcerting, magic to the three way wedding of the album’s beautiful, intricate scoring, the cigarette-stained, shame-filled intimacy of the lyrics and Stuart Staples’ deep, dark, world-weary singing voice”. 

If the best artists create a world in which their work can come alive and their fans can escape from the humdrum of life and the worries of the world, then Tindersticks are the perfect example. But beware those who enter, this world is not perfect and to overuse typical adjectives, it is dark and as McBride attests, disconcerting. It’s also strangely comforting.

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Doves have yet to have a big 'moment', but in the music business of 2025, those moments no longer even exist. Instead, bands of ‘modest success’ must crack on, do their best work, put it out in the world and hope people take some notice. If, as a result, they can reconnect with fans, get out on the road, and make another record, then that is what counts as success. Carrying on regardless. But, Doves have also had success by any hard industry measure. Hit singles (two UK top 10), sold out tours and no less than a trio of number one albums (The Last Broadcast, Some Cities, The Universal Want). 

“Apparently we are [successful]. Apparently we are the most underrated band ever. I do have gratitude. Even though we’ve been dealt some pretty bad cards, we’re also appreciated, so that levels that one up”. 

And so Doves soldier on, more resilient than most bands would be in the face of such a constant stream of setbacks. That's partly due to adaptability (which other bands could sell out a tour, sans frontperson?), positive attitude and, importantly, being self-reliant. The fine new album Constellations For The Lonely is a full-scale DIY job, self-produced and released under their own label Doves Music Limited. In a world where ‘independent artists’ seem more dependent than ever on industry gatekeepers, Doves can get it done on their own. Well, almost - Constellations is distributed through the new distribution arm EMI North. 

Better still, the whole project is influenced by the 1982 classic sci-fi noir Blade Runner - as fine a cultural reference point as you need for escaping from the pressures of the outside world, while letting them become part of the bigger story. “When we made the album, it was 4-5 hours away from reality each day, a safe space away from all the shit. That’s what got us through it”. 

It’s another creative high for a band that is definitely, somehow, underrated. Yet at the heart of the band is a creative power that they can rely on, even when they operate as three or two. That’s something Jez is both confident but humble about. 

“I tell you who is there for us…the music. I know it sounds cheesy, but it has always been there as a constant, and a guiding light. I know that’s a cliche but cliches do have a tendency to be true”. 

Let’s not call Constellations For The Lonely a comeback then, but perhaps this is the start of Doves being free to go where they want, knowing that their fans will follow, that they will get some radio support, and that the recognition and critical acclaim will keep on coming. 

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If the route to longevity is to be bendable into the music industry’s rules for success, The Lumineers really shouldn’t be here at all. It makes no sense. Their stripped back, rootsy ‘Americana’ (if that’s what we can call it) took hold for reasons not usually listed in the music industry rulebook. Instead, their unlikely ascendancy into the realms of being a major league band, by any measure, has happened through the real route to success: trial and error, hard graft, writing songs from the heart and performing them with vulnerability. And yes, when that led to big breaks, like supporting U2 on the massive anniversary tour for The Joshua Tree, they didn’t blow it. 

You don’t have to be a phenomenon but do have to be a pro. In today’s music business, you can’t phone in the work and expect a career in return. 

Wesley Schultz and Jeremiah Fraites have thought about it all, a lot. They know their strengths and weaknesses, their inspirations, and how to tap them. Tom Petty, Neil Young, Leonard Cohen and Radiohead are there in the mix. Indeed, you could say that The Lumineers self-awareness seems to be the real root of their ultimate success and longevity. That, and treating the work as sacred. As Fraites puts it:

“Even to make one song is impossible. It’s so much work. One song is already a pain in the ass, before you talk about doing a full LP.”

As Fraite’s friend and British booking agent Alex Bruford told him once “everybody wants Radiohead’s career”. And it’s a truism. The artist who doesn’t compromise creatively, can take a 180 degree turn if they want to, can meld their influences but render those as something unique to them. Artists that can call on the tradition of the song but dress it in different ways, adding something to the DNA of popular music. And do it all with success and recognition, and no need for hype. Dignity intact. 

It’s likely then, that a new generation of artists and bands coming up in today’s fractured and frantic music business, bands that really want success but don’t want to be moulded by the industry like plasticine, 

might just be telling themselves that they want a career like The Lumineers. 

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This episode is brought to you in collaboration with War Child. 

This is a special episode of The Art of Longevity celebrating vinyl and the ongoing importance of vinyl and the album form to artists and to music fans. 

In this short audio documentary you’ll hear some thoughts and stories from renowned musicians like Ben Folds, Gaz Coombes, Interpol, Laura Veirs, Alela Diane, Crowded House, Eels, Ron Sexsmith, Tindersticks, Feeder, Goo Goo Dolls, John Grant and Brett Anderson of Suede. 

The Art of Longevity returns shortly, meanwhile please listen and DONATE to War Child NOW! 

Thank you for listening and donating. 

For more visit https://www.songsommelier.com/artists-on-vinyl-documentary-1

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There are always some central pillars to a great party playlist - songs that just work. One of those is the Joan As Police Woman song Holy City. The song is always an instant hit at parties, guaranteed to elicit excitable inquiries as to “who is this?”. That instant reaction. The song is a #1 hit in my family - one of those multi-generational family life tracks.

But if Holy City is instantly likeable, with a great beat and a strong poppy hook, it’s somewhat uncharacteristic of Joan’s music, which is mostly the opposite: seductive slow burns that take their time to become loved. It’s what Joan herself refers to as the eternal quandary of a life making alternative and original songs in today’s music business.

“A lot of people are just really busy and they don’t have time to figure out what this incredible new music is that might require 10 listens until you’re hooked”.

Then again, after some time away from Joan’s music, it was another of her singles that I was immediately drawn to, the smouldering, unhurried jazzy ballad Full Time Heist, from her new album Lemons, Limes and Orchids. This song, written as a cynical ode to one of life’s chancers, is my song of 2024 and enters into the canon of my all time favourite songs. That’s two for Joan and makes her increasingly one of my very favourite artists. 

Joan is the ultimate collaborator - entirely comfortable with creating in the moment no matter who she works with - and some of her collaborators have been bona fide music royalty, including Tony Allen, Rufus Wainwright and Damon Albarn (and also David Sylvian although their recording sessions have yet to see the light of day - something I only discovered after my chat with Joan). 

But an effective collaborator as she is, Joan makes her own records, literally. Right from the start her 2007 debut Real Life was entirely self-funded, subsequently shopped around to labels that would be willing to take it to market. She had a little bit of help for her first E.P. from - of all places an independent record shop in Derby, England. Indeed, store owner Tom Rose of Reveal Records created his own label just to get Joan’s first songs on the market. Tom happens to be Joan’s manager to this day. 

Going back through the catalogue, it is striking just how high the quality of Joan’s solo output is, most notably her stunning Sophomore record To Survive (2008), the ultra-cool collaboration with Tony Allen and Dave Okumu The Solution Is Restless (released during the pandemic in 2021). And now Lemons, Limes and Orchids - yet another creative high water mark for an artist whose songs have a classic, timeless quality. 

The obvious question is how does such an uncompromising, singula artist even survive in today’s content-flooded music business?

“I practice daily to avoid the whole ‘compare and despair’. Keep the focus on myself and make the best music I possibly can and then I’m a happy person”. 

If she is happy, we should be too - and lucky to have her making such wonderful music. 

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Of all the bands to grace our company on The Art of Longevity, Keane have ridden the music industry rollercoaster through all the stations of the cross: struggle, success, excess, disintegration and if you’re lucky - enlightenment. Tim Rice-Oxley doesn't hesitate for a moment:

“Yeah, absolutely. Our struggle was quite long and our disintegration was quite quick, although we clung on effectively for quite a while. I feel like now we are in a more positive and exciting place than the day before Hopes & Fears came out”.

It’s easy to forget in these days when the monoculture is a dot in the rear view mirror, that Keane really went huge: five consecutive number one UK albums (album six ‘Cause & Effect’ was number two). Their early success carried an unstoppable momentum. Yet behind the sheen of that success, as quickly as their second album ‘Under The Iron Sea’, the band was imploding - a combination of exhaustion and the pressure of heightened expectations causing an emotional disconnection between bandmates - a difficult thing to handle for old school friends.

Every band of longevity should make a book and/or a film. It’s what fans in today’s crowded music landscape deserve really - the scarcity of access to the inner circle, whether that’s present or past. And for Keane themselves it sounds like the book has served a therapeutic purpose in a way.

“We’re insanely hard on ourselves, to the point where it’s not good. We’d find any feedback and take it as a stick to beat ourselves up with. But we’re finally at a point now where we can say that we are quite good at what we do, proud of our music and our place in the world”.

As Keane heads back into the studio next year, the band is far better equipped than when they headed to Sanger’s French farmhouse 20 years ago to make their debut - both emotionally and technically. The only problem is that they have set the bar high when it comes to track record. The creative ambition and self-critical muscles of this band are no doubt twitching away.

“I know I’m going to have to write a lot of songs to get to the magic. One of the things bands struggle with is quality control - knowing the difference between what’s good and what’s great. There are millions of people out there trying to write songs as well so you have to raise your voice about everything else out there”.

On page 35 of the book Hopes & Fears: Lyrics and History are two lists on the page of a ring bound notepad, titled The OK Computer Test. 

“There’s no way we thought we were making the next OK Computer but you’ve got to try. You ask yourself “how do our heroes do it”. But if we knew then what we know now, we might have put ‘Somewhere Only We Know’ at number five instead of first”. 

For the next Keane record I suggest they apply “The Hopes and Fears Test”, just to make sure their new material is up to scratch. 

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What happens when you are a cult band (indeed when Pitchfork refers to you as “the ultimate cult band”) and you make the most accessible, most ‘mainstream’ album of your career?

It’s a relevant question for many bands these days, because emerging from cult status to the mainstream (what’s left of it) is a very valid path to longevity and success. Look at Nick Cave for example. He’s done alright.

But I can’t think of a better example right now, than Los Campesinos!

With All Hell, they have made the kind of record that can win over new fans, which isn’t easy on your 7th album. If we whisper it quietly, they may have even made a classic album.

Only time will tell, but for now the band is enjoying basking in a little bit of well deserved success, including an 8.5 on Pitchfork, hitting number 14 on the UK album chart and sold out UK venues - bigger ones than they have played before. Not quite a jump from cult status to daytime radio playlists, but nonetheless, progress. Los Campesinos! have just found a route to a larger audience.

“We’ve always looked for validation elsewhere, but to achieve the best reviews of our career and chart position [for All Hell] is very flattering and something we appreciate more now than at any other point in our career.”

It remains to be seen if the glut of year end ‘best albums of’ lists remember to include All Hell, if indeed they considered the record a suitable candidate. Well, it’s on my list. What’s more, the vinyl package is lovely (apart from the 45 RPM but we’ll let that one go for now). 

Nothing better though, than a band in the enlightenment phase:

“When we formed we were very much ‘indier than thou. Very pretentious. We were very prescriptive to what being in a band should be. Authenticity has always been very important to us but now, our approach to releasing music, playing live shows - we’ve become the band we always should have been. So now I can be smug!” 

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Artists have a duty to claim that their most recent project is the best work they have ever done. But what if it’s true? I’m so taken with David Gray’s new album Dear Life (released January 2025) - and so too is David of course - that it seemed churlish to dwell too much on his earlier career success, no matter just how definitive that was.

“I’m always all in with the new stuff. If I wasn’t I would just retire. It’s always a moment of total commitment. I like the danger of writing and recording. There is gold in them there hills and you have got to go and find it”.

Dear Life is led by rhythmic singing and short-story style writing, underpinned by unusual song arrangements. But the songs catch on, almost every one a ‘grower’. It’s one of those records that is shot-through with reflection, philosophy, mortality. You could say it’s a mid-life record and there is nothing wrong with that, given how well it stands up to his classic breakthrough work White Ladder and his first decade of popular success.

“I feel like these songs are strong enough to go shoulder to shoulder with the big songs”.

His instincts this time around, are good. When David Gray takes to the stage on his extensive 2025 tour to play songs like Leave Taking, Fighting Talk and (recent single) Plus & Minus, he will not need to precursor them with an apology.

The understated quality of the past 10 years' work is a run of form that may have gone unnoticed by the music industry mainstream, but also suggests that Gray has been building to a head of steam. If this was 2004, he would be releasing Dear Life into the world as a surefire classic album. But here we are in 2024 - algorithm powered and neck deep in social clips. Releasing a magnificent record into the content void of today guarantees nothing. Especially when you are running your own small record label as Gray now is.

“You’ve got to go on a cookery show just to get the opportunity to play a song for two minutes.” 

White Ladder was one of those CDs everybody had. It came at the end of the CD era, one of the last albums that achieved cultural ubiquity. Lest we forget, the record was self-funded (on a budget of £5,000) and self-released. Inventing a sub-genre is one thing, and with White Ladder, David Gray did that - folktronica was the label the music press attached to it. But there was much more to it than that. In a sense, Gray pioneered bedroom pop, 20 years before it became huge on Spotify. Rex Orange County, Yellow Days, Alfie Templeman and a whole generation of others owe something to him. But his huge success with White Ladder will always leave him with something to prove. 

“The disaprovers are waiting every time you do something new. But I’m a very determined person. But then I love doing what I do. There is no trout farm for me. I just love doing this thing. And it’s getting richer and richer. There is always more to put into song”. 

He is literally making music for Dear Life. It shows. 

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