For a moment there, it looked as though we had lost Jamie Woon. The London artist impressed on his debut album, working with enigmatic producer Burial on a brew of personal revelation and after-hours club tropes, sculpting singles such as the all-timer ‘Night Air’ in the process.
A follow-up underlines his skills, but the songwriter became caught up in label politics, enduring lengthy spells of writer’s block.
Returning last year with his first album in a decade, Jamie Woon feels wholly comfortable with the current landscape. His stunning vocals – neo-soul softness, with hints of everything from folk singer-songwriter to club spaces – betray real musicality, with a fresh generation of artists citing him as a formative influence.
Ahead of his first major UK headline tour in a number of years, Jamie Woon chatted with CLASH about his new album, finding his feet creatively, and what a session with Burial is actually like.
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The tour kicks off shortly, how are rehearsals going?
It’s been great. I’ve been getting it together with my band, who I’ve known for ages now – 20 years, in places. But we haven’t actually played together in a while, except for one show last year.
How are you approaching the set list?
I’ve really enjoyed doing that, actually. Taking the old ones, putting it together with the new album. Three albums is definitely different than two… three feels like, well, we’ve got a decent set now!
It’s a whole catalogue!
There you go!
What have you noticed when revisiting those older songs?
Sometimes the meanings completely change. You’ll have processed something through the writing of a song, but when you get to the other side it’s still fun to sing. The meaning is still there. Life in between has added on to it. There are songs I didn’t expect to enjoy playing that I love.
You had a lengthy gap between albums – did you feel nervous on release day last year?
I was. I was. I’d written it from a vulnerable and difficult place, really. I’d been struggling to write, and it was also the circumstances I was in – I was on a label, but it wasn’t working for me. I was there for a long time, all while trying to make a record that was going to allow me to go out and do stuff. It was a lot of pressure. At times I couldn’t see the wood for the trees! You lose practise, as well… because I completely dipped from society.
There’s nothing like contact with people and fresh air. It’s great to share music, and to connect with people. It’s also just great to play music. Having those songs, and being on the other side of them, is a beautiful feeling.
Absence makes the heart grow fonder – that absence helped you to become a much-mythologised figure. And you’re returning to a changed landscape – do you feel more at home in UK music now?
I think we’ve always been able to re-package different types of music in our own depressing way! I suppose I’m part of that tradition. We punch massively above our weight, don’t we? We’ve always had amazing studios and amazing record labels. Mixing genres has always been something the UK does really well. Maybe we’re small enough – and big enough – that it works.
What was the biggest challenge when making this record?
It was not getting in my own way, in certain respects. And not falling prey to the instinct to try and explain everything about it. I was very lost. I knew I loved music, but I was finding it difficult to actually make it. It was painful, and quite lonely. I think that’s the challenge – to talk about it, and share it in a way that honours the spirit of the record.
I was mapping my journey through the lyrics. And writing lyrics was actually the main problem on this record. I was literalising this mindset of music-making. Songwriting is beautiful because you can mix spontaneity with craft. Improvisation with design. It’s a mixture of feelings, and the head. But the process became too heady – as words can, if you’re in a certain way of thinking. I wanted to be precise, and that takes time. We built the tracks, the foundation of the record over a number of years, so when I finally got some words down at the end, that’s when they became songs.
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Did the team around you aid in that? You worked with Martin at Eastcote Records, did that help you?
It did. We were really good friends before making music, so that element of trust was there. Martin is extremely optimistic and open-minded, so everything was on the table. We made it completely off to the side, just the two of us. It was a secret, then it became it’s own thing.
You’ve worked with some great producers in the past, so I can’t help asking this – what is Burial actually like?
Well, he’s a legend! But he’s also a bloke… he’s a geezer! (laughs)
No, I mean, I’m never sure what to say, because secrecy is the point. He loves music, he puts a lot of heart into it. He’s a very funny man. He thinks in a completely different way to anyone else I’ve ever worked with. The way he works with samples… is just incredible. And that was really different for me, coming from a folk / songwriter background. The way he speaks about music is very poetic and inspiring. I had a great time working with him.
You seem to be in a great place creatively, have you already started work on your next project?
Yeah! We’ve got a tonne of stuff. I’m more linking in to Eastcote now, so we’ve started that by releasing a new version of ‘All The Way’. It’s different to the album version, but it’s good for it to see the light of day. I’ve got a lot of ideas on hard drives. I’m interested in how I’ll feel after the tour, whether I’ll want to go back into the studio straight away. Keep the energy going.
The reworking is very interesting, it kind of harks back to the way Jamaican musicians and producers ‘version’ their songs in different ways.
It’s cool. It’s a good song, and it’s nice to see it in various forms. And I love remixes. I find it fascinating how people can insert their own vibe or energy into a track. I really enjoy it.
The tour will be incredible, it contains some amazing venues. You’ll be familiar with Shepherds Bush Empire in London!
I love that place. I’ve seen lots of gigs there, it’s an amazing venue. I saw john Martyn there – one of his last ever tours.
And you’re also playing We Out Here Festival, which should be a real moment for you.
Oh that’s going to be great! I haven’t been before, but I remember seeing all the footage on social media for the one just after COVID… I had real FOMO! It looked like pure euphoria. It sounds like artists are all there together, supporting each other’s sets.
Does that sense of support mean a lot to you?
Oh completely. Music is about people, at the end of the day. You can have a lot of fun on your own, but everything I’ve really done has involved other people.
It’s your first major tour for some time, how do you think you’re going to feel out there onstage?
I’m actually really looking forward to it. I feel really lucky to be able to do this, and I’ve had a lot of love from people who enjoy my music. For me, it’s about enjoying it, and making the songs sound as good as we can. Each venue has its own spirit, so I’m up for getting into that. When I was younger it felt a bit like I was on a runaway train at times. Now I’m older, I feel that bit more grateful for it all and I just want to enjoy it.
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Jamie Woon’s new album ‘3, 10, Why, When’ is out now. Catch him live at the following shows:
April
6 Glasgow Oran Mor
7 Manchester Amber’s
8 Bradford-On-Avon Wiltshire Music Centre
9 London O2 Shepherd’s Bush Empire
Words: Robin Murray
Photo Credit: Fabrice Bougelle
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