Barely out of his teens, singer-songwriter Angus Gill, has achieved things some musicians can only dream of. Last year, after being named a Toyota Starmaker finalist, he wrote and produced his debut album, Nomad alongside country music heavyweights Drew McAlister, Gina Jeffreys and Adam Harvey.
Upon its release, Nomad debuted in the top 20 of the Australian ARIA charts. His single, Hands are Clean has been well-received by fans and critics alike.
In this interview, touch upon the process behind recording Nomad (both from a production and song writing point of view), how Hands are Clean came to be, and plans for another tour.
View the film clip for Hands are Clean on YouTube! [Image supplied by Wildheart Publicity]
Congratulations on the recent release of your single, Hands are Clean from your album, Nomad. What’s your fans’ reaction to the song been like so far?
Thank you, Jackie! This release has been significantly different to others, as it’s a bit of a curveball sonically, to what people would normally expect from me.
The production is still very real, but it’s quite a progressive and contemporary song, and my image now has an extra layer of edginess to it, as a result of the music video.
I’ve been overwhelmed with the reaction to Hands are Clean. I think it’s a song that resonates with a lot of people, as most of us have felt like we’ve been prematurely judged at different points in our lives.
Hands are Clean was inspired by Karise Eden’s appearance on Australian Story. Does real life experience – either that of others or your own – often inspire your song writing?
I think it’s always best to write about what you know, in order for the lyrics to come across as genuine and honest. I really try to have that as my mantra when I’m writing songs. I’m also very passionate about learning about other people’s stories and using my voice as an artist and a songwriter, to communicate these stories.
I think Hands are Clean partially comes from a personal place, I’ve certainly felt like I’ve been judged by people, before they’ve got to know me, I think we all have. Karise said something in her Australian Story about the fact that she chose to get artworks on her arms to cover up the scars of the past. That was what sparked this kernel of an idea, which I brought into a writing session with Drew McAlister.
You’ve supported Karise Eden as well. What did she think of the song?
I opened for Karise a while ago, I think it was just after I’d written the song. I mentioned it to her after the show and I think she was quite surprised. Since I released the song, I received a lovely Facebook message from Karise’s foster mother, who would like to reconnect us at some stage.
You co-wrote this Hands Are Clean with Drew McAlister. What was that experience like?
It was heaps of fun! Drew’s a fantastic artist and writer, whom I’ve admired for a long time. It was the first time we’d met when we sat down to write this song. However, the writing session really flowed, Drew was quite keen on the idea and luckily in the end, we came out with a song that people can identify with.
What do you want people to get out of listening to Hands Are Clean and Nomad?
I think the biggest compliment to a songwriter is when a person comes up to you after a show, or after listening to your album and asks, “Did you write this song for me?”.
That connection is essentially what we all strive for when writing for a project and there is no greater feeling than when someone comes up to you and says, “Yep, I get you. I’ve been there.”.
You worked with quite a few big country artists (as well as Drew McAlister) on Nomad, including Gina Jeffreys, Adam Harvey and Luke O’Shea. What did working with them teach you about being a musician?
I think the common thread is to be true to yourself as an artist. Try not to get too caught up in any particular trends and run your own race.
You were a finalist in the Toyota Starmaker competition in 2017. How has that helped your career as a musician?
Toyota Star Maker is a fantastic platform for any artist coming up through the ranks of country music. The TSM family is an incredibly supportive one and such a lovely group of people. I feel very privileged to have been a part of it.
It really does make a difference in raising awareness of your brand and who you are as an artist within the industry itself and certainly the loyal country music fans.
The album debuted at number 15 on the ARIA charts. Is that something you expected, and does the success of the album influence you when writing new music?
The album debuting on the ARIA charts to me was certainly a very pleasant surprise. To have it peak at #13 and go on to spend several weeks on the chart was amazing and one that I certainly didn’t expect.
I think when it comes to writing for a new album, thinking about your target audience is one of the most important factors to consider. How an album charts is completely dependent on the strategies and circumstances leading up to, and after the release.
You also produced the album yourself. Can you tell me a bit about the production and recording process of Nomad?
I decided to challenge myself as a writer and a co-writer early on and craft a road themed concept album. The “road-song” has been a staple of popular music over many decades, but my challenge was to put a different angle on this topic, the angle being that the songs were written from the perspective of a young, albeit unexperienced driver.
The songs for the album were mostly written well ahead of recording them and this allowed me to do a great deal of road testing (pardon the pun) and thus figure out which ones my audiences were connecting to the most. By that point, I started to develop arrangements of the songs, which gave me the direction that I needed to produce the album, so the gutsy move from songwriter to producer didn’t feel forced, it actually felt quite natural.
We tracked the rhythm section live in Sydney, at my mate Stuie French’s Swingin’ Door Studios. I then tracked my additional parts at my studio on the mid-North Coast, Hot Plate Studios and then went on to record all of the colour instruments and backing vocals. We had a lot of musicians and guest vocalists involved in the project, so it probably took us about 6 months from start to finish, so you could imagine how relieved I was to sit down with Jeff McCormack to master the album in August of last year.
You’re from Wauchope in NSW. How does coming from such a small town influence your approach to music?
My hometown was very instrumental in bringing me into country music, and the support from a hometown crowd is amazing. If it weren’t for the local country music club, Hastings Country Music Association and performer William Lane, I doubt I would’ve went on to be in country music or a singer/songwriter for that matter.
I really do appreciate all of their support and encouragement, and the platform that they gave me from a very young age; the age where my guitar was substantially bigger than I was!
What was the local music scene like?
Growing up in Wauchope and Port Macquarie, there were a lot of pub rock bands going around. The country music association and the local theatre group was where I found I belonged, since picking up the guitar at age 7. I went on to form my own band in primary school, we were called Angus Gill and the Wild Turkeys. I didn’t exactly realise I’d named my band after an alcoholic beverage until years after.
We used to get up at every school assembly and sing the school song, as well as a song to open and close the assembly. Looking back, I think they got us to do that in order to teach the kids the meaning of tolerance! It was an experience that really taught me how to entertain and read an audience. I found that Silver Threads and Golden Needles didn’t go down as well as I’m a Believer (we were all really into Shrek back then).
I got my first ‘big’ gig at 11, when I was employed to perform for four hours every Saturday at my local historic theme park, Timbertown. I’d dress in semi-period costume and sing all of the Australiana bush classics, like Click Goes the Shears, the Wild Colonial Boy and Waltzing Matilda.
Angus Gill’s Nomad is out now. Click here to get your copy via iTunes. [Image supplied by Wildheart Publicity]
Who are your idols?
Paul Kelly is quite a big influence that comes to mind for me musically. People would occasionally come up to me early on and say that I reminded them of Paul. It’s quite interesting though, because I didn’t get into Paul’s music until after people started telling me that. When I heard his Smoke album, I couldn’t get enough of his music after that and I became intrigued with his philosophy on songwriting and versatility of his catalogue and his career.
You just finished a tour alongside Emma Jene. What was that like?
The Young Wheels tour was great fun. We played about eight shows across two and a half weeks in Tasmania. It was freezing cold, but such a beautiful landscape to tour around and the people in Tassie do really appreciate their music. To top things off, it was cool to have a #1 with Hands are Clean, while we were over there, and to play to a sold-out crowd just outside of Launceston.
You’re set to hit the road again in June. What can people expect from one of your live performances?
I’m an entertainer and a comedian, so you can expect lots of moments in my show and the assurance that I will put on a show. I like to make it my mission to crack the most nonchalant person in the crowd.
You’ve done some work as a stand-up comedian. Can you tell me a bit about that?
I think I’ve always reveled in entertaining people and making them laugh and it’s something I’ve tried to slowly incorporate into my act over the years. I think it’s another important part of who I am and I’d say I’ve probably inherited my funny bone from my father. He does come out with some good one-liners every now and then.
What do you enjoy most about touring and performing live?
That I have the privilege of connection with people on a variety of levels through my music, banter and stage antics.
You’ve done a number of support slots alongside the likes of The Black Sorrows, Mental As Anything and Troy Cassar-Daley. What’s been your favourite tour/support experience thus far?
I’ve been lucky to have a few favourite moments on tour so far. The Black Sorrows gig was heaps of fun. I was in the middle of a sound check when they had all arrived at the venue and I was singing Steve Earle’s Copperhead Road. They started to get their instruments out and came up on stage with me, and there I was playing Copperhead Road with The Black Sorrows. Top musicians and very nice people.
Another favourite moment I had was touring with Sara Storer. I was sound-checking a song of mine called Starin’ Out the Back of a Car and when I finished Sara said that she really liked the song and would love to sing a harmony to it. So, when the song came up on my support set, both Sara and her brother Greg came out and sang harmonies on my song; it was such a special moment. I hadn’t met Sara and Greg prior to doing a run of dates with them, but they were so kind and generous and they made me feel like a member of the family.
How does producing your own music compare to producing the music of others?
I think producing for yourself is much more challenging that producing for other people, as you have such an attachment to your songs and the essence of who you are as an artist. You really have to try hard to form different perspectives on your work when you’re self-producing. You usually don’t have that attachment when another artist comes into the studio, so it’s easier to form that outside opinion.
What is it about country music in particular that appeals to you?
The strong storytelling aspect really appeals to me. Country music is very narrative driven and I’m very passionate about telling stories, both my own and other people’s stories. I kind of envisage myself as an actor of sorts when writing and delivering songs, because you do have to, in many respects, become the character that you are singing about.
How difficult is it being an independent artist in today’s industry?
I think that it’s becoming quite common to be an independent artist, particularly in country music nowadays, as quite a high percentage of artists in our industry are independent. With our newer technological advancements, it’s becoming easier for independent artists to expand their audiences and break into the market.
What’s the epitome of success for you?
Being able to sustain a career in doing something that you love.
You’re headed over to the States soon to do some writing. What are you most looking forward to about that?
I love the experience of writing in Nashville. It’s unlike anything else that I know of. Where else in the world can you walk into a room with a complete stranger, tell your life story in five minutes and hopefully come out with a song after a few hours?
What has being involved on the production side of music taught you about pursuing a career in music?
Producing for other people is incredibly rewarding, I love working with people at all different stages in their career, across all different genres. It definitely helps you appreciate the power, the beauty and the scope of music. One thing I’ve found is that every person is different to work with, what works for one person in the studio won’t work for the next. So I’m constantly trying to figure out the best way to capture the talents of the artists I have the pleasure of working with.
What advice would you give to aspiring musicians, or those looking to have a career in the creative industries?
It may sound a bit cliché, but throughout your creative endeavours, remaining true to yourself should be the top priority.
What music are you listening to at the moment?
I’m currently listening to Ashley McBryde, Kacey Musgraves and Ben Glover.
Where do you see yourself in the next five years?
Still finding the joy in the journey and making sure I’m true to myself the whole way through.
Angus Gill’s album, Nomad (featuring “Hands are Clean”) is out now. To find out more about his upcoming tour (dates below) or buy tickets, visit his website.
Wednesday 6th June – Stag & Hunter, Newcastle (w/ Scullion Sessions)
Friday 8th June – Macksville Ex Services Club, Macksville (w/ Jason Owen)
Thursday 14th June – Port Macquarie Panthers, Port Macquarie
Saturday 7th – Monday 9th July – Timbertown Steam Festival, Wauchope
Wednesday 11th July – Lizottes, Newcastle
Jackie Smith Writes 