If you could describe your life in three key chapters, what would they be?
The first chapter would be about my life moving around different countries with my parents. We lived in various countries in Europe and the Middle East. The second chapter would be about buying my first guitar and moving to England. The third chapter would start with me sitting on a beach in Thailand where I wrote something that convinced me that I had something to contribute to music.
What was the moment you realized music was more than just a passion—it was your purpose?
It was that moment in Thailand. Somehow I ended up spending some time on a tropical island surrounded by tourists, backpackers and diving instructors. I was playing guitar all the time and one day I wrote a piece of music that I liked so much it made me believe I had something to contribute to music. It convinced me to come back to London and take music more seriously. I still haven’t written lyrics for that piece. Perhaps this year I’ll come up with something worthy.
Who was the first person to believe in your talent, and how did they influence your career?
I can’t think of a specific person but I remember in my first bands as a teenager I was looked to as the one to come up with the riffs and chord progressions. When I started singing my own songs many people told me how much they enjoyed my lyrics. It’s been a slow process of recognition from multiple people that has provided extra motivation to keep going.
Do you have a defining memory that still fuels your creativity today?
I can’t think of a particular instance but for me it’s the understanding that songwriting encapsulates so many things that interest me; story telling, psychology, music theory etc. It’s a craft that has a lot of room to explore and approach from different angles.
What’s the most valuable life lesson you’ve learned through your musical journey?
That the best way to connect with people is by being honest, authentic and truthful. That goes for songwriting as well as in general. I’m not saying I’m living a 100% authentic life but it’s something I aspire to and work towards everyday.
How does “Can’t Sit Still” capture who you are as an artist in this moment?
The fact that it’s catchy, danceable and accessible but still has a hidden musical depth to it sums up where I’m at as an artist right now. It’s a shame so many songwriters are formulaic in their work when the best songs have moments that break away from conventions. It’s disappointing to me that there are artists with millions of listeners that are still not pushing the boundaries of what can be done in the context of popular music. I’m not saying you have to be super experimental but it would be nice to see the biggest artists try tempo, time signature and key changes like the best artists of the past used to do.
Did the song come to you all at once, or was it a gradual creation?
I can’t remember what the delay was between writing the music and the words. Sometimes the two happen months apart. I do remember that writing the music for the bridge was a special breakthrough that I was particularly proud of. A portion of the music I write is the result of instinct and following my ears. The other part is more deliberate where I have to figure things out consciously or with the help of music theory. It felt special the way it call came together in the final song.
How did you decide on the production style for “Can’t Sit Still”?
During the recording sessions I talked a lot with the producer Glen Strachan about the feel I was going for. I’m a big fan of late 1970s to mid 1980s punk, post-punk and new-wave music. Bands like Television, Blondie, XTC, Talking Heads etc. I’m not knowledgeable enough about the music recording and production process to know how much of that is reflected in the final recording but I really like how it sounds. To me it sounds very much like a bunch of musicians playing a song together; alive, present, real.
How does “Can’t Sit Still” push boundaries compared to your previous releases?
The middle section where the song goes on a short jazz detour is not something that I’ve done in any other song before. The way it slows down then picks up the tempo for a swing section before returning to the chorus is very satisfying.
Was there a moment in the studio when you felt, “This is it—this is the song”?
I don’t know it’s THE song. But it’s definitely a song I’m proud of. I think one of the memorable aspects of the recording session was hearing all the drum-fills that drummer Leo Mollon was coming up with. His drumming on this track is playful and creative.
Can we expect an album or EP following the release of this single?
At the moment I’m not releasing EPs and albums in the conventional manner. I record batches of songs together and then release a new single every couple of months. After all the songs are released I will give the project a name. So you could consider those EPs or albums. There is one more song coming out for this project and then I’ll be moving on to the next one, which has already been recorded but not yet mixed.
What’s next for you after the release of “Can’t Sit Still”? Any exciting projects or performances we should look forward to?
I’m releasing one more song from this project in January and I’ll be performing a show with my band at the Stag’s Head in Hoxton on the 18th of January to support it. Then I’ll be moving on to the next project for which I’ve done all the recordings. I have enough music recorded to last me until the end of 2025. But I want to record more music this Spring or Summer to get ready for 2026. I’m laying tracks far ahead of the Corneli Gerard train. I’m not stopping!
