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Hi, this is Stephen Wilson and I'm coming to Australia
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really soon to play my new album The Overview with
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my amazing band and a lot of stuff from my
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back catalog.
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I really hope you can make it along. See you there, bait.
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Yeah, awful, Steve, thanks for joining us this evening.
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My pleasure. Thanks for having me.
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My pleasure as well, my friend.
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So, as you say, you head to Australia in November
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for a run of show, starting in Perth on November
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the twelfth, then hitting Adelaide, Melbourne and Sydney before finishing
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in Brisbane on November seventeenth. That follow is a massive
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run of UK, European and American days, mate, So it'll
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be nice and warmed back by the time you get.
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You that's the theory. That's the theory. Unless we're all
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sick by then and fed out.
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We're doing it now. I'm choking, of course.
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I'm really looking forward to come to Austraight, it's been
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a long time. It's been a long time. One of
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my favorite plays in the world. I'm really looking forward
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to coming back.
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And it's say it has been a long time.
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Bro. Richard adds like what's changed in your world since
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last time you are out here?
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Wow, Well, obviously we've had COVID in the interim. I've
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probably made it, but I can't remember the last time
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then maybe.
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Twenty sixteen was it.
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So I've probably made about three, four even five albums
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since then, got a lot of new repertoire to play,
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got married in the midtime, have got step children now
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as well. So actually a lot of changes in my
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life for the better.
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The better, I should say. Yes.
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Now, you mentioned at the top of the amazing band
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that you're bringing over made so introduced. The focus is
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always on you because you're the season professional. I guess
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everyone knows. But introduce us to the rest of the lineup,
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man and tell us what their role is with your music.
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Oh you see, No, I'm my band. I'm the amateur.
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I always do that thing.
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I think it was Frank Zappa that said, always be
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the worst musician in your band, and I am that person.
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I am the worst musician in my band.
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I mean it's a great position to be in where
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you you know, you kind of surround yourself with these
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world class musicians, but you're the guy with the ideas
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and you're the guy that's kind of captain of the ship,
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as it were. And that's that's me in this band.
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I have incredible people. I have so I have long
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a couple of long term members, Nick Bags on bass
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and Adam Holtzman on keyboards.
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My drummer is Craig Blundell.
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Some people may know he's played with a lot of
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people over the years, most recently with Steve Hackett. And
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I've got a new guitar player young, well I say young.
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He's in his thirties, young compared to me. Fantastic young
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American guitar player called Randy mcstein is going to be
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joining me for this tour.
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So that that's my band.
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Yeah, oh nice.
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And the tour is on the back of your eighth
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studio album, The Overview, which came out on March of
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fourteenth made. So it's only been a couple of weeks
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with a healthy holy reception been for it?
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Well, I don't really know, to be honest, I'm very
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good at avoiding any any sort of you know, feedback.
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I don't go on social media, I don't read comments.
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I don't I don't know.
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I mean it sold really well, and I mean the
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press reviews were very very positive. So I've got used
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over the years to being, you know, to the fact
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that I always to confront my listeners a little bit
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with each album because I try and do something different
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every time. So I, you know, I don't know. I
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hope they like it. I mean, it's a big chunk
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of music. It's quite a journey. I think that's what
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my fans like about what I do. This, this kind
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of sense of journey across an album, something that takes
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you a few listens to kind of discover and to
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understand and decode. But I'm very much looking forward to
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playing it live and seeing how people respond to it.
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In that context, the album is conceptually based and inspired
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by the overview effective astronauts giving Earth from space, but
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the betefit people like myself who honestly have no idea
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what that is.
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Can can you explain the concept.
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So very simply when astronauts the first time they go
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into space and they see the Earth from space, they
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have a kind of very profound shift in perspective because
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they see for the first time how insignificant the Earth
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really is in a kind of beautiful way, just how
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insignificant and how insignificant and lost in space the Earth
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really is, and therefore, by extension, how insignificant the human
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race really is. And I think that affects people in
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very different ways, and that was one of the things
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that appealed to me, is that some people have a
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very positive reaction to that, and some people have a
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very negative reaction to that, and of course the whole
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spectrum in between. So it's one of those things that's
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very hard to predict exactly how you will apparently how
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you will feel, and how you will respond to that
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sudden moment of having so much perspective. So I was
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fascinated by that idea, and I wanted to kind of
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write about, you know, essentially, write about that word perspective,
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having perspective on just how small our I mean, the
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numbers are insane when you go into it. The numbers
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are insane. There are trillions and trillions of planets in
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the universe, and ours is just one. There is a
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there is a billion planets for every grain of sand
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that there is on the planet Earth. That's mind blowing
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to me. So it was kind of just a way
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to explore some of those numbers and some of that
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idea of perspective.
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Really, what sort of research did you do that?
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Did you just did you write it just based on
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your own knowledge that you already had, or did you
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go in depth and researching.
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Yes, So I kind of I kind of approached it
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like a bit of an idiot. Really, I didn't want
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to you know, I didn't want to do it as
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a science project, if that answered your question. I wanted
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to do it more from the kind of emotional perspective,
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this idea of you know, understand that kind of profound
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moment of understanding just how tiny we are. And I
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think we all have kind of moments like that, you know,
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it could be just standing at the edge of the
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Grand Canyon, you know, or looking up at the stars.
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I think we're all used to that feeling.
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Of, you know again that again that word perspective, having
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a sudden moment of understanding just how small we are
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in relation to everything else in the cosmos. So I
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wanted to explore that feeling rather than sort of go into,
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you know, deep scientific rigor.
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I don't know if it answers your question.
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Yeah, the overview.
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Overview contains just the two tracks at forty two minutes
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long way, so and you're you're known for doing your
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extended sort of songs, but running through the thought process,
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like in the creative stages, Like most people write, they
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know it's going to fit. Youre a four and a
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half minutes, five minutes, but you haven't got to start
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an endpoint, So how do they create, Like how do
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you know when to stop when it's enough?
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So I think it's a bit like if you imagine
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sitting down to write a novel or you sit down
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to write a movie script. You're basically going to tell
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a story, and you have an idea of your characters,
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and you have an idea of your starting point, or
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at least I did. I knew I knew how it
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was going to start, and I knew I knew broadly speaking,
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where I wanted to end as well. So it's really
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a question of how do you tell that story? How
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do you take the listener on that journey. And in
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the sense of the writing, it was very much written
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in the order that you hear it, so each idea
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kind of suggested the next idea, So each each doorway
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kind of led to the next room in that sense.
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So I just kind of followed my instincts and I
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didn't have any you know, I didn't have any particular
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length in mind. I didn't know it was going to
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be fifteen minutes or twenty five minutes. I just kept
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writing until I felt that the story had been told.
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If that makes sense, how to.
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Go with the modern age? Where I did?
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The modern age, people's attention spends just getting less and
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less and less. Like, does that never a factor into
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it for you when you're writing compositions like this that
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are lendy, that maybe a lot of people just won't
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have time to listen to it.
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Well, you know, the simple answer is I try not
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to think about the listener when I make arks. Now
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that that's when I make my music. That sounds very
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That sounds very selfish and self indulgent, and it is.
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But I've always believed that artists, if I can pretentiously
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call myself that should never thinking about their audience when
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they create the art it is. I think, by definition,
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it is kind of a selfish act. And you just
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hope that people want to go with you on that journey,
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and you hope that people will give you the benefit.
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Of the doubt.
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And I have a fairly loyal fan base that kind
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of listen to everything I do. Even if they moan
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about it and they complain it's not what they want,
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they kind of still go with me on that journey,
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which is I think something that I've built.
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Up over the years, that kind of loyalty.
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And also I think there's a sense of providing the alternative.
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You know, there's always been this notion in pop and
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rock music of alternative music providing the alternative to whatever
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is the mainstream at that moment. Now, the mainstream at
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the moment, as you suggested, is very kind of immediate, short,
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synthesized pop music, usually sung by female solo artists. That
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seems to be very much the prevalent mainstream at the moment.
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So here I am kind of providing the alternative to that.
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And there are people that want that. There are people
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that want to engage with music on a deeper level
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and are prepared to sit and listen to a longer
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piece of music. So in that sense, I see myself
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as the alternative to the mainstream, and there's always an
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audience for that always.
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And how about playing library like your songs are that long?
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Like You've got so much music that people that love,
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they love and when they come and see you live.
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If you play the compositions like that, you can only
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play four songs in an hour and a half, you know,
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So you're not going to be able to please a
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lot of people.
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Well, that's true, but I have a lot.
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I mean, I have a lot of different kinds of
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albums I've made over the years. I've made albums of
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pop songs, I've made albums of long, conceptual suits, and
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the show will be a mixture, you know, of all
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of those things. So the second half of the show
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is going to be a complete performance of the Overview
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from beginning to end, and so that that will be
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very much the meat of the show. The first half
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of the show will be a journey through my back catalog.
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There'll be short pieces, long pieces covering all the different
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sort of aspects of my musical personality, so hopefully something
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for everyone.
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The Overview is also punctuated with cinematic electronics and a
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falling mercy of atmosphere.
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I guess why I listen to it? How difficult is
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it to elicit those feelings through music?
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Well, the answer to that question is I don't really
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have an answer for you, because I'm not aware of
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the process. When I'm creating these things, I'm just kind
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of trusting my instincts.
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So how hard is it. I don't know.
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I mean, it may be that I've failed to communicate
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that stuff to certain listeners. I don't know. I mean,
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I hope not. I hope that the emotional quality and
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the subject matter.
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And all of that does come across well.
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But I'm really just I'm really just following my instincts
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and trying to convey what I feel. And that's all
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I think anyone can ever do when you're creating a
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piece of art and you you kind of you have
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to trust to that kind of process and the hope
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that it will communicate to an audience. Whether it has
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or not, I time will tell, I guess.
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There's another part of the press release that mentions spatial
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audio wizardry when describing the sound of the album, like
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can you run us through what that actually is.
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And why it's important with your music particularly?
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So Yeah, So one of the big kind of developments
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in music over the last few years has been this
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idea of space audio or immersive audio Dolby atmos five
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point ones around town, and in a way, this is
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kind of mirroring the way a lot of things are
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going these days. So one of the buzzwords you'll hear
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a lot these days with regard to film, computer gaming,
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you name it, is immersive, immersive experiences, and music is
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also is also responding to that. So we now have
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a big push in the direction of space audio Dolby
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at Moss having speakers not only in front of you,
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but also behind you, beside you, and above you, so.
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You can have sound coming from.
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In the vertical plane as well as the horizontal plane.
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And I've mixed the overview very much. I've created the
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overview very much with that particular medium in mind, and
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it's becoming much more common now. A lot of people
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have cinema systems at home. We've done a lot of
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playback events for the album where people can come along
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and hear the overview in cinemas in Dolby Atmoss rooms,
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and it's really an opportunity for me to put the
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music all around you, so you're literally sitting insight, you're
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literally floating in space when you're listening to this record.
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And I love that, and I love the fact that
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this is one of the big movements in music these days.
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It's very exciting now much more.
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Why could it say a few to create people, you
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write your music, that your creator, that you commit the album,
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but then to make it so that it is fully
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in merci of and r like. Is that is that
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another like another style of writing or is it something
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you put in someone else's hands and they add things
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to it.
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No, I do it all myself.
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I've been I've been working in surround sound for about
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twenty years now. I mean I started off doing five
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point one many many years ago when pretty much when
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nobody else is doing it.
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But I've always loved it. And now that Dolbi.
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Atmos has become a thing, you know, since people are
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Apple and Tidle have all really adopted it and really
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heavily promotes it. I'm in my element, you know. I
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think there is a there is an art to it.
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You do learn by your mistakes. As with anything, not
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everything works, but with an album like The Overview, where
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there's so many layers and there's so many textures, and
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there's so much of what I would call sound design,
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little moments, little details in the music, which I think
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you answer to your question. When I'm making the music,
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I am kind of aware, Oh yeah, there's going to
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be an ATMOS mix, and that's going to sound great
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in atmosph So I'm kind of I'm adding things I
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think which I might potentially not add if.
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I knew it was just going to be in stereo.
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But I'm kind of adding them knowing that they're going
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to sound amazing coming from above the listener or behind
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the listener, or moving around the listener. Because of course
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you can create movement also with these surround mixes as well,
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which is also perfect for an album like the Overview.
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Wow, that's an art form all in itself. Ro that's
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really impressive.
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It's really exciting, and it's gaining traction all the time.
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I'm very excited about the way it's going.
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Four I say it, well, thanks very much for your time, Bro,
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it's very informative. Thanks.
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It's You'll be out here on tour from November the twelfth.
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The album Overview is out now, and I'm going to
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make sure I get myself some good speakers and sit
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there and quiet and have a good proper to listen
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to it.
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After speaking with you, there you go. Thanks a lot, Chris,
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pleasure to speak to you, mate.
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It's funny.
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Joy.
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Address of your night,
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Hi, this is Stephen Wilson and I'm coming to Australia
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really soon to play my new album The Overview with
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my amazing band and a lot of stuff from my
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back catalog.
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I really hope you can make it along. See you there, bait.
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Yeah, awful, Steve, thanks for joining us this evening.
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My pleasure. Thanks for having me.
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My pleasure as well, my friend.
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So, as you say, you head to Australia in November
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for a run of show, starting in Perth on November
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the twelfth, then hitting Adelaide, Melbourne and Sydney before finishing
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in Brisbane on November seventeenth. That follow is a massive
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run of UK, European and American days, mate, So it'll
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be nice and warmed back by the time you get.
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You that's the theory. That's the theory. Unless we're all
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sick by then and fed out.
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We're doing it now. I'm choking, of course.
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I'm really looking forward to come to Austraight, it's been
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a long time. It's been a long time. One of
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my favorite plays in the world. I'm really looking forward
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to coming back.
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And it's say it has been a long time.
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Bro. Richard adds like what's changed in your world since
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last time you are out here?
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Wow, Well, obviously we've had COVID in the interim. I've
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probably made it, but I can't remember the last time
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then maybe.
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Twenty sixteen was it.
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So I've probably made about three, four even five albums
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since then, got a lot of new repertoire to play,
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got married in the midtime, have got step children now
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as well. So actually a lot of changes in my
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life for the better.
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The better, I should say. Yes.
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Now, you mentioned at the top of the amazing band
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that you're bringing over made so introduced. The focus is
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always on you because you're the season professional. I guess
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everyone knows. But introduce us to the rest of the lineup,
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man and tell us what their role is with your music.
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Oh you see, No, I'm my band. I'm the amateur.
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I always do that thing.
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I think it was Frank Zappa that said, always be
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the worst musician in your band, and I am that person.
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I am the worst musician in my band.
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I mean it's a great position to be in where
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you you know, you kind of surround yourself with these
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world class musicians, but you're the guy with the ideas
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and you're the guy that's kind of captain of the ship,
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as it were. And that's that's me in this band.
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I have incredible people. I have so I have long
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a couple of long term members, Nick Bags on bass
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and Adam Holtzman on keyboards.
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My drummer is Craig Blundell.
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Some people may know he's played with a lot of
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people over the years, most recently with Steve Hackett. And
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I've got a new guitar player young, well I say young.
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He's in his thirties, young compared to me. Fantastic young
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American guitar player called Randy mcstein is going to be
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joining me for this tour.
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So that that's my band.
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Yeah, oh nice.
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And the tour is on the back of your eighth
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studio album, The Overview, which came out on March of
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fourteenth made. So it's only been a couple of weeks
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with a healthy holy reception been for it?
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Well, I don't really know, to be honest, I'm very
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good at avoiding any any sort of you know, feedback.
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I don't go on social media, I don't read comments.
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I don't I don't know.
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I mean it sold really well, and I mean the
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press reviews were very very positive. So I've got used
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over the years to being, you know, to the fact
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that I always to confront my listeners a little bit
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with each album because I try and do something different
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every time. So I, you know, I don't know. I
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hope they like it. I mean, it's a big chunk
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of music. It's quite a journey. I think that's what
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my fans like about what I do. This, this kind
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of sense of journey across an album, something that takes
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you a few listens to kind of discover and to
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understand and decode. But I'm very much looking forward to
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playing it live and seeing how people respond to it.
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In that context, the album is conceptually based and inspired
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by the overview effective astronauts giving Earth from space, but
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the betefit people like myself who honestly have no idea
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what that is.
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Can can you explain the concept.
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So very simply when astronauts the first time they go
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into space and they see the Earth from space, they
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have a kind of very profound shift in perspective because
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they see for the first time how insignificant the Earth
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really is in a kind of beautiful way, just how
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insignificant and how insignificant and lost in space the Earth
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really is, and therefore, by extension, how insignificant the human
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race really is. And I think that affects people in
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very different ways, and that was one of the things
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that appealed to me, is that some people have a
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very positive reaction to that, and some people have a
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very negative reaction to that, and of course the whole
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spectrum in between. So it's one of those things that's
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very hard to predict exactly how you will apparently how
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you will feel, and how you will respond to that
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sudden moment of having so much perspective. So I was
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fascinated by that idea, and I wanted to kind of
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write about, you know, essentially, write about that word perspective,
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having perspective on just how small our I mean, the
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numbers are insane when you go into it. The numbers
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are insane. There are trillions and trillions of planets in
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the universe, and ours is just one. There is a
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there is a billion planets for every grain of sand
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that there is on the planet Earth. That's mind blowing
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to me. So it was kind of just a way
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to explore some of those numbers and some of that
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idea of perspective.
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Really, what sort of research did you do that?
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Did you just did you write it just based on
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your own knowledge that you already had, or did you
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go in depth and researching.
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Yes, So I kind of I kind of approached it
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like a bit of an idiot. Really, I didn't want
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to you know, I didn't want to do it as
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a science project, if that answered your question. I wanted
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to do it more from the kind of emotional perspective,
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this idea of you know, understand that kind of profound
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moment of understanding just how tiny we are. And I
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think we all have kind of moments like that, you know,
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it could be just standing at the edge of the
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Grand Canyon, you know, or looking up at the stars.
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I think we're all used to that feeling.
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Of, you know again that again that word perspective, having
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a sudden moment of understanding just how small we are
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in relation to everything else in the cosmos. So I
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wanted to explore that feeling rather than sort of go into,
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you know, deep scientific rigor.
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I don't know if it answers your question.
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Yeah, the overview.
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Overview contains just the two tracks at forty two minutes
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long way, so and you're you're known for doing your
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extended sort of songs, but running through the thought process,
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like in the creative stages, Like most people write, they
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know it's going to fit. Youre a four and a
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half minutes, five minutes, but you haven't got to start
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an endpoint, So how do they create, Like how do
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you know when to stop when it's enough?
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So I think it's a bit like if you imagine
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sitting down to write a novel or you sit down
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to write a movie script. You're basically going to tell
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a story, and you have an idea of your characters,
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and you have an idea of your starting point, or
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at least I did. I knew I knew how it
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was going to start, and I knew I knew broadly speaking,
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where I wanted to end as well. So it's really
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a question of how do you tell that story? How
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do you take the listener on that journey. And in
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the sense of the writing, it was very much written
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in the order that you hear it, so each idea
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kind of suggested the next idea, So each each doorway
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kind of led to the next room in that sense.
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So I just kind of followed my instincts and I
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didn't have any you know, I didn't have any particular
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length in mind. I didn't know it was going to
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be fifteen minutes or twenty five minutes. I just kept
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writing until I felt that the story had been told.
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If that makes sense, how to.
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Go with the modern age? Where I did?
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The modern age, people's attention spends just getting less and
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less and less. Like, does that never a factor into
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it for you when you're writing compositions like this that
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are lendy, that maybe a lot of people just won't
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have time to listen to it.
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Well, you know, the simple answer is I try not
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to think about the listener when I make arks. Now
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that that's when I make my music. That sounds very
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That sounds very selfish and self indulgent, and it is.
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But I've always believed that artists, if I can pretentiously
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call myself that should never thinking about their audience when
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they create the art it is. I think, by definition,
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it is kind of a selfish act. And you just
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hope that people want to go with you on that journey,
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and you hope that people will give you the benefit.
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Of the doubt.
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And I have a fairly loyal fan base that kind
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of listen to everything I do. Even if they moan
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about it and they complain it's not what they want,
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they kind of still go with me on that journey,
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which is I think something that I've built.
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Up over the years, that kind of loyalty.
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And also I think there's a sense of providing the alternative.
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You know, there's always been this notion in pop and
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rock music of alternative music providing the alternative to whatever
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is the mainstream at that moment. Now, the mainstream at
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the moment, as you suggested, is very kind of immediate, short,
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synthesized pop music, usually sung by female solo artists. That
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seems to be very much the prevalent mainstream at the moment.
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So here I am kind of providing the alternative to that.
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And there are people that want that. There are people
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that want to engage with music on a deeper level
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and are prepared to sit and listen to a longer
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piece of music. So in that sense, I see myself
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as the alternative to the mainstream, and there's always an
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audience for that always.
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And how about playing library like your songs are that long?
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Like You've got so much music that people that love,
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they love and when they come and see you live.
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If you play the compositions like that, you can only
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play four songs in an hour and a half, you know,
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So you're not going to be able to please a
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lot of people.
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Well, that's true, but I have a lot.
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I mean, I have a lot of different kinds of
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albums I've made over the years. I've made albums of
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pop songs, I've made albums of long, conceptual suits, and
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the show will be a mixture, you know, of all
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of those things. So the second half of the show
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is going to be a complete performance of the Overview
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from beginning to end, and so that that will be
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very much the meat of the show. The first half
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of the show will be a journey through my back catalog.
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There'll be short pieces, long pieces covering all the different
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sort of aspects of my musical personality, so hopefully something
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for everyone.
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The Overview is also punctuated with cinematic electronics and a
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falling mercy of atmosphere.
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I guess why I listen to it? How difficult is
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it to elicit those feelings through music?
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Well, the answer to that question is I don't really
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have an answer for you, because I'm not aware of
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the process. When I'm creating these things, I'm just kind
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of trusting my instincts.
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So how hard is it. I don't know.
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I mean, it may be that I've failed to communicate
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that stuff to certain listeners. I don't know. I mean,
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I hope not. I hope that the emotional quality and
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the subject matter.
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And all of that does come across well.
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But I'm really just I'm really just following my instincts
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and trying to convey what I feel. And that's all
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I think anyone can ever do when you're creating a
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piece of art and you you kind of you have
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to trust to that kind of process and the hope
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that it will communicate to an audience. Whether it has
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or not, I time will tell, I guess.
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There's another part of the press release that mentions spatial
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audio wizardry when describing the sound of the album, like
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can you run us through what that actually is.
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And why it's important with your music particularly?
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So Yeah, So one of the big kind of developments
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in music over the last few years has been this
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idea of space audio or immersive audio Dolby atmos five
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point ones around town, and in a way, this is
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kind of mirroring the way a lot of things are
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going these days. So one of the buzzwords you'll hear
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a lot these days with regard to film, computer gaming,
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you name it, is immersive, immersive experiences, and music is
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also is also responding to that. So we now have
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a big push in the direction of space audio Dolby
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at Moss having speakers not only in front of you,
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but also behind you, beside you, and above you, so.
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You can have sound coming from.
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In the vertical plane as well as the horizontal plane.
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And I've mixed the overview very much. I've created the
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overview very much with that particular medium in mind, and
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it's becoming much more common now. A lot of people
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have cinema systems at home. We've done a lot of
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playback events for the album where people can come along
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and hear the overview in cinemas in Dolby Atmoss rooms,
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and it's really an opportunity for me to put the
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music all around you, so you're literally sitting insight, you're
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literally floating in space when you're listening to this record.
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And I love that, and I love the fact that
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this is one of the big movements in music these days.
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It's very exciting now much more.
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Why could it say a few to create people, you
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write your music, that your creator, that you commit the album,
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but then to make it so that it is fully
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in merci of and r like. Is that is that
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another like another style of writing or is it something
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you put in someone else's hands and they add things
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to it.
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No, I do it all myself.
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I've been I've been working in surround sound for about
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twenty years now. I mean I started off doing five
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point one many many years ago when pretty much when
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nobody else is doing it.
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But I've always loved it. And now that Dolbi.
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Atmos has become a thing, you know, since people are
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Apple and Tidle have all really adopted it and really
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heavily promotes it. I'm in my element, you know. I
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think there is a there is an art to it.
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You do learn by your mistakes. As with anything, not
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everything works, but with an album like The Overview, where
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there's so many layers and there's so many textures, and
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there's so much of what I would call sound design,
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little moments, little details in the music, which I think
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you answer to your question. When I'm making the music,
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I am kind of aware, Oh yeah, there's going to
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be an ATMOS mix, and that's going to sound great
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in atmosph So I'm kind of I'm adding things I
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think which I might potentially not add if.
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I knew it was just going to be in stereo.
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But I'm kind of adding them knowing that they're going
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to sound amazing coming from above the listener or behind
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the listener, or moving around the listener. Because of course
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you can create movement also with these surround mixes as well,
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which is also perfect for an album like the Overview.
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Wow, that's an art form all in itself. Ro that's
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really impressive.
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It's really exciting, and it's gaining traction all the time.
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I'm very excited about the way it's going.
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Four I say it, well, thanks very much for your time, Bro,
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it's very informative. Thanks.
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It's You'll be out here on tour from November the twelfth.
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The album Overview is out now, and I'm going to
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make sure I get myself some good speakers and sit
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there and quiet and have a good proper to listen
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to it.
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After speaking with you, there you go. Thanks a lot, Chris,
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pleasure to speak to you, mate.
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It's funny.
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Joy.
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Address of your night,
