{"id":4786,"date":"2016-05-23T14:20:21","date_gmt":"2016-05-23T18:20:21","guid":{"rendered":"http:\/\/agitreader.com\/wp2\/?p=4786"},"modified":"2021-11-09T10:45:47","modified_gmt":"2021-11-09T15:45:47","slug":"travis","status":"publish","type":"post","link":"https:\/\/agitreader.com\/wp2\/travis\/","title":{"rendered":"Travis"},"content":{"rendered":"

\"Travis\"<\/a><\/p>\n

Hitting their stride in the late \u201990s, Scottish four-piece Travis is often depicted as the first of a new wave of British bands to follow once the fervor surrounding Brit-pop earlier in the decade had died and left a lull in its wake. But while they may have shared some of their peers\u2019 penchant for instantly fetching melodies, the band separated itself from the pack by loading their songs with greater emotional weight while managing to avoid being melodramatic at the same time. Albums like their breakthrough The Man Who<\/i> (1999) and the subsequent The Invisible Band<\/i> (2001) found principal songwriter and singer Fran Healy wearing his heart on his sleeve, and such sentimentality seemed to resonate, with those records selling millions of copies in Britain and only slightly smaller numbers elsewhere.<\/p>\n

In the subsequent decade and a half, Travis\u2019 music has branched off in different directions as the members have aged and their interests and influences evolved. But the core of what it does has remained relatively the same: impassioned songs imbued with an innate melodicism. Travis\u2019 latest album, Everything At Once<\/i> (Caroline Records), reveals a band that is older and seemingly more content than its younger restless self, veering between bright-eyed cheeriness (\u201cMagnificent Time\u201d) and being decidedly resolute (\u201c3 Miles High\u201d). In many ways, it is exactly what you\u2019d hope for some 20 years into the band\u2019s career. I caught up with Healy, who was on his way to a show in Birmingham, England, to chat about the here and now and the there and then.<\/p>\n

I read an interview where you were going through each record and using an analogy of either facing your audience and showing your true selves or having your backs to the audience and being more cloaked. How would you characterize this record using that analogy?<\/strong><\/p>\n

Fran Healy:<\/strong> We always write our songs with our backs to the business. It was a risky thing to sign a band like us when we first started because we didn\u2019t really sound like anything. I wasn\u2019t a big music listener as a kid. I was an only child sitting at the end of his bed trying to find nice melodies to string together and write a couple of songs about the things I was thinking about. And that\u2019s still the way we do it. That\u2019s really good in the sense that you\u2019re never in fashion. But then going against you, you\u2019re never in fashion! So you\u2019re always on the periphery, and it can be difficult to get any airtime for your songs. This record was done exactly the same, but thankfully in the UK, the radio is hammering it at the moment, which is fucking amazing! You look at the radio chart and it doesn\u2019t fit at all. Urban music is huge just now, and guitar music is on the periphery.<\/p>\n

I read another interview in The Quietus<\/i>\u2014I read a lot in preparation for talking with you\u2014and the guy was saying that you are perceived as being nice with the connotation of being…<\/strong><\/p>\n

FH:<\/strong> Shit!<\/p>\n

I guess you could put it that way. Do you think there\u2019s the same perspective in America?<\/strong><\/p>\n

FH:<\/strong> I couldn\u2019t honestly say. It\u2019s a quite strange phenomenon in Britain because we\u2019re so different from that. I find it really bizarre when I see that perspective of our group. We all went to art school\u2014we\u2019re a proper art school band! As people, if you went out for a drink with us, I think you\u2019d think we\u2019re a nice bunch of guys, but the idea has stuck in way that\u2019s not good. It\u2019s a weird one. Maybe it\u2019s because we became so fucking huge in Britain\u2014we sold four million copies of one album\u2014the airways were saturated by it. And we did it without permission, because all of the reviews of that album (The Man Who<\/i>) were shit as well. We\u2019ve never really been a critics\u2019 band, and we\u2019ve been paying for it ever since. But it\u2019s an odd thing because we\u2019re so different in reality from this idea. And the guy who wrote that, who I\u2019m good friends with now because he lives in Berlin, he finds it odd as well. But you can\u2019t do anything about it.<\/p>\n

Over here, The Man Who<\/i> was really our introduction to you. We really didn\u2019t hear the first record…<\/strong><\/p>\n

FH:<\/strong> Yeah, we didn\u2019t become huge in America with The Man Who<\/i> and The Invisible Band<\/i>. We didn\u2019t become the housewife\u2019s favorite band. We remained a band playing medium-size venues. Like 10 years later, I\u2019d be talking to someone at a party in Brooklyn or LA or wherever, and they\u2019d ask me what I do, and I\u2019d say I was in a band and tell them the name of the band, they\u2019d gush and be like, \u201cOh my God, you\u2019re in Travis!\u201d And it was nice because I always thought everyone had the same opinion of us. But it\u2019s different in America, and I think a lot of that has to do with mainstream success. Once something gets massive, it just has to be shit because that\u2019s what most massive things are.<\/p>\n

The first time I ever saw you play was opening for Oasis and I remember how much rougher and louder you were than the record.<\/strong><\/p>\n

FH:<\/strong> That was a good tour. Every night, we\u2019d go on and try to blow them off the stage, and I think we managed to do that a couple times.<\/p>\n

I think you did that in Columbus, actually.<\/strong><\/p>\n

FH:<\/strong> Yeah, there\u2019s us on record, and then there\u2019s us live. I think this new record is the closest we\u2019ve gotten to that live thing where it\u2019s a little bit loose, but a little bit tight. Generally, when we play live, it\u2019s always heavier and rougher around the edges. And it\u2019s more interesting. I think live is always more interesting than records unless you\u2019re John Cale.<\/p>\n

Well, when I saw you at Webster Hall<\/a> a few years ago, I thought it was a bit more dynamic. Did it take awhile before you were comfortable not just rocking out live?<\/strong><\/p>\n

FH:<\/strong> At the moment, we just started this tour, and we\u2019re trying to settle on the setlist. At the second show in Manchester, I noticed that it wasn\u2019t moving it in the right way. I remember really enjoying playing that set at Webster Hall because it had ups and downs and darks and lights. This set so far is less dynamic and we need to chip away at it and add some moments where it calms down a bit and feels like it has a proper pulse and isn\u2019t just hammering you over the head with high energy. Well, as much high energy as a band of 42-year-olds can muster! It\u2019s funny we\u2019ll be onstage and I\u2019ll think, \u201cWow, we should be in bed by now!\u201d But we\u2019re not, and it feels good!<\/p>\n

You recorded the album at Hansa Studios in Berlin, and of course, everyone thinks of Bowie when they think of that studio. Did he figure into your thinking when deciding to record there? This is the first album you\u2019ve recorded there, right?<\/strong><\/p>\n

FH:<\/strong> We did a few days at Hansa at the end of making the last record, Where You Stand<\/i>. You\u2019ve got two studios at Hansa, and the main one isn\u2019t where Bowie recorded all that stuff. There were a few others when he recorded, and the only one that\u2019s left is on the top floor. I\u2019m sure Bowie was probably in the main one a little bit, and REM and U2 and Depeche Mode all made records there. But our producer Michael Ilbert has his room next door to that, and I\u2019ve got this amazing writing room next door to him. It\u2019s a great studio, but we went there because it was convenient. I live in Berlin and I work there and know everyone there. We had the whole top floor to ourselves. It was so cool! It has this thing about it, where it\u2019s like a living museum that still operates as a recording studio. There\u2019s the Solina keyboard that Bowie used on Low<\/i>, which we used on the song \u201cThree Miles High.\u201d They have the amps from Lust for Life<\/i>, which we used all over our record. And it looks like the seventies when you walk in; it\u2019s been perfectly preserved. And when a studio has a pedigree like that, you feel like, \u201cShit, we really have to make a good record.\u201d But it\u2019s your luck as well. We recorded at Abbey Road in 1999. It was shit. We had to ditch everything we recorded there, so it\u2019s no guarantee.<\/p>\n

You mentioned your writing room. Having that space, are you the type of person who treats songwriting like a job, where you have to go to the office every day?<\/strong><\/p>\n

FH:<\/strong> No, I don\u2019t. If you saw my room, you\u2019d see exactly how I use it. I\u2019ve made it into an apartment. I\u2019ve got a couch and a computer set up by my piano for making demos. But mostly it\u2019s a massive couch, a big bookshelf full of art books, and a projector screen for watching movies. Most of the time, I just go there and sit in the quiet and think. A big part of writing or doing any creative thing is not doing it. I don\u2019t think enough people talk about that negative space. We live in a world where everyone has to produce a certain amount of songs. If you go to Nashville and these places where people are churning out song after song, most of them are shit because people aren\u2019t getting enough inactivity. It\u2019s too much product. You just get junk if you do that. But if you treat it like you\u2019re a farmer, where you have one big empty field for most of the year then for one week of the year you harvest, you probably will produce better songs. At least, I find that to be true for me.<\/p>\n

Before the last record, you told the other guys that you didn\u2019t want to do all the songwriting any longer. Was there a particular reason you decided to give up the reigns a bit?<\/strong><\/p>\n

FH:<\/strong> The other guys in the band all write. I\u2019m still the main writer, mostly because I\u2019m the singer and because I\u2019m pretty good at it now. The problem for Andy (guitarist Andy Dunlop) and Dougie (bassist Dougie Payne) is that they\u2019re writing a song that I have to sing, and if it doesn\u2019t feel right for me, I just can\u2019t do it. But Dougie especially has improved his songwriting and is writing more stuff that fits. It\u2019s been great. For instance, \u201cAnimals\u201d is my favorite song in the set. It makes me feel like Elvis when I sing it because there\u2019s a weird vibrato that I haven\u2019t done before.<\/p>\n

Given that you were the principal songwriter, what made you want to make a solo record?<\/strong><\/p>\n

FH:<\/strong> Everyone had a break, and I got a recording desk and some cool mics and I just continued writing. That record is like a Travis album without anyone else in the house. It\u2019s just me there by myself playing everything. It\u2019s like a really polished demo tape for Travis, and it probably would have been a Travis record had we been active at the time. I just thought I\u2019d do my own thing this time and it was nice. It was another feather in the cap, and I got to play with some other really cool people like Neko Case and Paul McCartney.<\/p>\n

How\u2019d you hook up McCartney?<\/strong><\/p>\n

FH:<\/strong> I just cold-called him. I got his email and sent him the demo of the song. I was playing bass on some of the record and Sam Dixon, who\u2019s worked with Sia and Adele and is a friend of mine, played on some songs. But there was this one song that needed something else. It needed a Beatle! So I emailed him. I thought he\u2019d never get back to me, and he didn\u2019t for 14 or 15 days. I had forgotten about it when I got this email saying he loved the track and wanted to do it. Because I was busy and he was touring, he did it in his studio in England and sent me over the bassline. I konked takes two and three together, and then I thought to myself, \u201cShit man, I just konked Paul McCartney\u2019s bassline together.\u201d I sent him an email saying I had taken the best of two and three and hoped he didn\u2019t mind. He was like, \u201cNo man, it\u2019s great.\u201d He\u2019s really cool, a really lovely human.<\/p>\n

Given the longevity of the band, is there anything that would make you hang it up? You mentioned Lust for Life<\/i>, are you still going to be doing this when you\u2019re Iggy Pop\u2019s age?<\/strong><\/p>\n

FH:<\/strong> We always said we\u2019d do 12 records. That was always the goal. So if we hit 12 records and we\u2019re still rolling, great. If one of us died, we\u2019d stop because the M.O. of the band has always been that it\u2019s the four of us and that\u2019s the band. There was a time when Neil was having his first kid, and we got another drummer in and it was just not right. It felt bad, and it felt bad for everyone. So after that we realized that not a lot of bands have what we\u2019ve got and you usually don\u2019t get to see that on a stage: four people who have been together for that length of time and still love each other. It\u2019s a real live friendship coming to a stage near you!<\/p>\n

Yeah, are you going to be touring the States for this record?<\/strong><\/p>\n

FH:<\/strong> We may be coming in the fall, but nothing\u2019s concrete. We\u2019re just going to get on with touring Britain and Europe and doing all the festivals, then we\u2019ll see if we\u2019re coming over in the fall. But we always come.<\/p>\n","protected":false},"excerpt":{"rendered":"

Hitting their stride in the late \u201990s, Scottish four-piece Travis is often depicted as the first of a new wave of British bands to follow once the fervor surrounding Brit-pop earlier in the decade had died and left a lull in its wake. But while they may have shared some of their peers\u2019 penchant for […]<\/p>\n","protected":false},"author":17,"featured_media":4788,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6],"tags":[1733,16],"class_list":["post-4786","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-features","tag-fran-healy","tag-travis"],"yoast_head":"\nTravis - The Agit Reader<\/title>\n<meta name=\"description\" content=\"Interview with Travis singer Fran Healy about new album, Everything At Once\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/agitreader.com\/wp2\/travis\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Travis - 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