“Like An Angel” was originally an untitled ghost track on Near Life Experience. What inspired you to revisit and re-record it?
Initially, I liked the idea of it remaining as an untitled ghost track on the album, even if it took years to be discovered. It was conceptually fitting that it could be discovered at the point when it appears to be the end. With the release of singles from the album, I noticed that the closing track “In Touch” (which the ghost track was attached to) was getting traction despite it not being a current single or on any playlists yet. There was no way of knowing whether the interest was in “In Touch” or in the ghost track. However, after one reviewer spotted and described the extra hidden track, many others began referring to it as their unexpected highlight or standout track. A combination of the interest in the track, as well as the approaching one-year anniversary of the album led to two of my band members independently suggesting that I re-record it as a single. I liked the idea of hearing how it could sound when given the same treatment as the rest of the songs on the album and so I was pleased to have the opportunity to do it justice.
This song marks your fifth collaboration with award-winning director Sam Chegini. What makes your creative partnership so special?
When you look at any of Sam’s work, it is evident immediately that this is someone who is in total command of their medium and who also has their own unique artistic vision. When I began collaborating with Sam on my own songs, I was additionally blown away by the depth of his understanding, intuitively and also with his meticulous attention to the lyrics and music. When in conversation, I would feel him deeply attending to my words and he would sometimes pause to jot something down as and when visual images started to appear. Once Sam relates to a concept, he is then able to bring his own rich life experience and empathy into it. When truth and integrity shine through, it has the power to transcend and really move people. Producer Henry Thomas and I would marvel and delight in discovering what new elements we would discover with each new watch even post release! Sam’s work is so layered, visually striking, nuanced, and he can tell the narrative from a place of deepest awareness. Working together over a sustained period of time, we realised that we had a shared value system and approach to both creativity and life. As Henry aptly stated, “When the marriage of music and visual imagery creates a perfect symmetry, it’s impossible to imagine one without the other”.
You describe “Like an Angel” as your most meaningful song to date. Can you share more about the message behind it?
I wanted it to serve as an honouring or an ode to those no longer with us who continue to influence and guide. We carry our attachment figures inside us, internalising their values. The message can also be summarised by the lyrics in the preceding track, “In Touch” which the ghost song was attached to because of its relevance. “All endings can feel like death, all deaths can feel like the end. Love resides with loss. Love can outlive life.” Whilst we have some influence, there is also much in life that is beyond our control, including death. I found comfort in the knowledge that whilst a person can be taken, our love for them can’t. This is a song about acceptance that was made from love about love. As a group of musicians who have all experienced loss, we set out to achieve something rare and beautiful for everyone and we all came out feeling that we had achieved this. That in itself was transformative. This level of combined investment also extended to the video collaboration with Sam Chegini. This process of collaboration during the making of the song and video has brought additional meaning due to the song having been a pathway to forging deep connections between people.
The single features an incredible lineup of musicians, including Henry Thomas, Martyn Barker, Tony Qunta and Anders Olinder. How did their contributions shape the final sound of the track?
Considerably! Meeting the right people to work with is part luck but also connected to what you are giving out and drawing in at different points in your life. Meeting Henry Thomas was one of those definitive connections that changed everything for me and it came about at the right time in both of our lives. Everything we cared about doing was aligned and his whole-hearted commitment and belief was profound.
As a producer, Henry has a unique ability to break-down process analytically and he knows how to bring together disparate elements whilst never losing the core identity. Knowing how to create a conducive environment where all musicians can flourish was key. In order to capture magical performances in the studio, he enlisted the help of highly co-operative, empathic and emotionally robust individuals who would be open enough to offer creative ideas on the spot, but could also let go of them without causing tension.
The rhythm section was the starting point and we needed something compelling that was also sensitive to the lyrics. Henry, Martyn and Tony spent a long time establishing the key groove between them. Tony referenced “The Police” as a 3-piece band who managed to create a very good groove with harmonic and rhythmic depth with just guitar, bass and drums. He came up with simple chords to create a wide landscape, with picked arpeggio notes to give rhythmic movement and interplay with the drums and bass.
Henry suggested a high range shimmery guitar. Tony used close voicings, adding some extra notes extending beyond the standard chords to enhance specific lyrics in a very ethereal kind of way. He also added some lead guitar lines later in the song that he said he wanted to sound “triumphant as well as serene, in line with the mood and sentiment of the song”. Once that strong foundation was established, the expressive piano playing of Anders Olinder seemed to follow effortlessly. The whole endeavour from beginning to end was a very beautiful process and we all came away with the feeling that we had created something transformative.
With Near Life Experience still receiving recognition and airplay, what’s next for you in 2025? Any new projects on the horizon?
2025 is already shaping up to be a very exciting year. There are a few surprises in the pipeline but at this point I can only say, there is still more life in “Near Life Experience” to come!
March will also see the completion of a new musical resource I have been developing for children’s emotional well-being post pandemic, called “TroubleChutes”. It comprises a collection of songs and illustrations covering challenging topics such as bullying, jealousy, sibling rivalry, divorce, and provides a forum for children to develop their emotional literacy. It is being published by karnacbooks.com the leading independent mental health publisher and we will be busy road testing it in our ambassador schools this year. It was recorded during the pandemic by many of the key band members who played on “Near Life Experience”. The whole project has been a huge labour of love so I cannot wait to put it to use!
Photo Credit: Marsha Swanson.