Band Overview
The Heavy North, emerging from Liverpool, UK, has made significant strides in the music scene since its establishment in 2018. Comprised of Kenny Stuart (Lead Singer), Jose Ibanez (Guitarist/Producer), Andrew Horrocks (Bass Player), Ste Penn (Keyboard player), Jack Birch (Guitarist) and Mark Rice (Drummer), the band has carved a niche in the genres of blues and garage rock. Their music, a heady mix of blues, rock, and soul, has earned them accolades from BBC Radio 6 Music's Chris Hawkins and Classic Rock Magazine. The Heavy North's approach blends different musical styles into a coherent and engaging sound, setting them apart in the industry.
2023: A Year of Milestones
The year 2023 marked a significant phase in The Heavy North's journey. They began with a sold-out headline show in London and participated in the Independent Venue Week Shows. The release of their singles 'Where Are You Now?' and ‘Round Again’ were notable highlights. The band also completed recording their second album 'Delta Shakedown' at 3rd Planet Recording Studios, Liverpool. Their UK tour included stops in Glasgow, Sheffield, Chester, and London, displaying their growing popularity. Furthermore, they performed at various festivals and venues, showcasing their ability to captivate audiences across different settings.
The Band Members' Perspectives
Jose Ibanez (Guitarist and Producer):
Jose detailed the production process of 'Delta Shakedown,' highlighting the evolution from their previous work. His dual role as guitarist and producer has enhanced the band's live performances, emphasizing the importance of collaboration in songwriting. Jose shared his guitar influences and the creative satisfaction he finds in producing specific tracks.
Ste Penn (Keys):
Ste's role involves selecting keyboard tones for live performances and studio work. He cited influences from classic artists and shared his favorite moments in 'Delta Shakedown.' Collaborating with additional musicians like the Northern String Quartet has significantly impacted the band's sound.
Mark (Drums & Percussion):
Mark's approach to drumming focuses on instinct and interaction with the rhythm section. He shared his philosophy and preparation routine, highlighting specific songs in 'Delta Shakedown' where his drumming was crucial.
Jack Birch (Guitarist):
Jack discussed his seamless integration into the band and his role in arranging guitar parts for 'Delta Shakedown.' Collaborating with Jose, he contributed significantly to the storytelling aspect of the music, especially in specific tracks.
Andrew Horrocks (Bass):
Andrew spoke about adapting his bass playing to the band's expansion. He emphasized the importance of bass in blues rock and discussed specific tracks where his style is pivotal.
Collective Creativity and Future Aspirations
The band members collectively reflected on their evolved songwriting and performance approach after a successful year of touring. They shared insights into the creative process behind 'Delta Shakedown' and their aspirations for new musical directions. The recording process brought memorable experiences, and the band expressed ambitions for their future evolution.
Key Themes
Emphasis on Collaboration and Synchronicity:
The band's performance is marked by a strong sense of collaboration, ensuring tight synchronicity, especially important with a larger ensemble.
Individual Artistic Influences:
Each member brings a unique set of influences, shaping the band's distinctive sound and adding depth to their music.
Dynamic Integration of New Members:
The addition of new members and musicians like the Northern String Quartet has enriched the band's sound, showcasing their adaptability and creativity.
Reflecting on the Creative Process:
The band's reflections on their creative journey highlight their commitment to evolving and exploring new musical horizons.
Conclusion
The Heavy North stands as a testament to the power of collaboration, individual artistry, and musical evolution. Their journey through 2023, with the release of "Delta Shakedown" and their dynamic live performances, underlines their ability to create a unique sound that resonates with a wide audience. With a blend of influences and a strong collective vision, they continue to chart a promising path in the world of music.
The Interview
Group Questions:
After a year filled with successful tours, overseas shows, and festival appearances, how has The Heavy North's approach to songwriting and performance evolved?
We've probably streamlined the way we work and become more efficient with the songwriting process. The writing is easy, but having to time and money to record and release consistently is another matter. We’re very fortunate and grateful to have Jose as our producer as well as guitarist, so we’re quite a privileged band when it comes to studio work.
Usually, Kenny or Jose will have an idea for a track and hare the idea with the rest of the band in our WhatsApp group – whether it’s voice notes or lyrics. This normally allows us to make the best use of our time together in the studio as well as giving us the opportunity to think about how we can each contribute to the track.
With the release of 'Delta Shakedown' and its positive reception, can you share insights into the collective creative process for this album and how it differed from your previous works?
Collectively the creative process for ‘Delta Shakedown’ was really enjoyable for each of us. The process was similar to our debut album ‘Electric Soul Machine’ but fortunately we didn’t have to contend with COVID-19 restrictions and lockdowns which did delay our previous recordings.
Looking ahead, what are the band's aspirations for the upcoming year, and are there any new musical directions or collaborations you are particularly excited about exploring?
We’ll be starting off 2024 with a handful of headline shows in February which include a return to London which we’re really looking forward to. We are always working on new songs and new ideas, and we have some exciting plans about another release in 2024 which we’ll be sharing very soon!
Recording an album like "Delta Shakedown" is often accompanied by memorable experiences and unique challenges. Could you recount a particularly memorable moment or significant challenge faced during the recording process?
We were very fortunate to not experience any significant challenges or problems with the recording process for ‘Delta Shakedown’ and we only have good memories of chipping away at the album throughout Spring and Summer 2023. Some of the most enjoyable and memorable experiences were being in the studio watching the additional musicians add strings, brass and backing vocals to our tracks. It’s one thing to be proud of what we have recorded as a six-piece, but hearing the additional orchestral layers being added was a great experience for all of us.
Looking to the future, what ambitions and aspirations does The Heavy North collectively hold? How do you envision the band's evolution in the coming years, both musically and in terms of your reach within the music industry?
When the band started out back in late 2018, we just wanted to make music together and have some fun whilst doing it. We had no idea what direction it would take us in, but we’re very grateful for the opportunities that we’ve had as a band over recent years.
As an independent band without a record label or official management company, it can be challenging to navigate the music industry, but the six of us just want to do ourselves justice and make the most of the opportunities we’ve been given.
Considering that 2023 was the first year that The Heavy North hit the Official UK Charts as an independent band, we feel this demonstrates that there is a demand for our music – and as long as there are fans and followers who support us, we’ll do our best to keep making music!
In-Depth Interview Questions
The Heavy North Band Members
Kenny Stuart (Vocals)
Following your recent 12-piece band show at the Camp and Furnace, Liverpool, can you share how the experience of performing with a larger ensemble influenced your vocal performance and the band's dynamic?
It doesn't really affect the performance but obviously it's great playing with as part of a larger band. It doesn't interfere too much with the dynamic I don't think. Obviously, we have to be super tight in order to perform with the session players, but we're all seasoned enough to be able to do it with ease!
Your cover of 'White Christmas' for BBC Introducing in Merseyside was a unique choice. What inspired this selection, and how do you approach covering such iconic songs while maintaining The Heavy North's distinctive style?
I was trying to think of something we're I can showcase my vocal whilst also doing a classic that everybody knows. Hopefully it did have our distinct sound but suppose my vocal is a large part of the sound being the lead singer - but I hope everybody liked it!?
Reflecting on your journey with The Heavy North, how have your experiences as the lead vocalist influenced your personal and musical perspectives? Could you share some pivotal moments?
I'm just really grateful to all the support! We’re really privileged to be able to entertain so many lovely people and it's been a real highlight getting to meet so many new faces and friends at our shows across the country and beyond.
Your vocal style is uniquely expressive and resonant. Could you delve into the inspirations behind this style and perhaps share some insights into your vocal preparation routine before performances?
I have many different influences and it's a strange mix - but hopefully a good mix! Otis Redding, Mick Jagger, Van Morrison, Sam Cooke, Peter Green, Paul Weller, Dan Auerbach, Iggy Pop and Jim Morrison to name a few! I never really have to prepare too much and just make sure I'm hydrated enough before a performance.
In emotionally charged songs like "I See You, Do You See Me?", your voice seems to convey a profound depth of feeling. Can you discuss the personal experiences or artistic influences that you draw upon to infuse such deep emotion into your performances?
It's really about trying to put yourself in that position. Being influenced by soul, I don't think a song is worth singing if you don't feel and believe in what your singing!
Jose Ibanez (Guitarist and Producer)
Reflecting on the production of 'Delta Shakedown', how did the process and experience compare to working on your previous album 'Electric Soul Machine'?
The process was similar to the previous album ‘Electric Soul Machine’. Kenny would write a piece and will send it to me where I would make a structure and some arrangements, or vice versa - I would write some music and Kenny would add Lyrics and melodies in most of the tracks. Then the lads would put their own parts while recording the song using the demos as a reference.
Some exceptions were ‘Don’t Need Money’ where it was more a jam in the studio when Jack and Kenny were away. We recorded the music and Kenny did add the vocals after with Jack added some more guitar.
Also, with ‘Delta Shakedown’ we wanted to bring the string quartet, brass and the backing singers that we used in 'Electric Soul Machine'. It was great to have them back again!
With the band's expansion to a six-piece, how has this affected your approach to guitar playing and production, particularly in live performances like the one at the Camp and Furnace?
It has been an improvement, for sure! Having Jack is a joy as there are guitar parts, he wrote for the songs that made them special.
I was more focused on the overall sound of the album and writing good structures while Jack added the icing on the cake. Also live I definitely think we sound bigger!
Balancing the roles of guitarist and producer for "Delta Shakedown" must have been a multifaceted challenge. How did you navigate these dual responsibilities during the album's creation, and what was your approach to integrating these roles seamlessly?
Producing this album was a challenge as I wanted to make it better than the first one. I always thought “can I make this better?” and after a few months and reading the good feedback we’ve had I think we did!
For me this is not only my passion, it’s my showcase as every time an album I’ve produced comes out it’s “This is my work” and something I am very proud of.
Playing guitar was the easy part as I would ask for feedback and the lads would always throw ideas at me, especially in some of the lead guitar parts.
Your guitar playing is a defining feature of The Heavy North's sound. What are the key influences that have shaped your approach to the guitar, and how do you adapt your playing style when stepping into the producer's role?
My key influences would go from Jimi Hendrix to Peter Green, Dave Gilmore, or Jimmy Page , BB King , etc. Finding the right ‘tone’ for each song was the most fun part. From an acoustic approach on ‘Play It Safe’ to the fuzzy darker sounds on 'Forever Without You' there is a big difference.
Can you take us through a specific track from "Delta Shakedown" that posed particular challenges or brought special satisfaction during its production, detailing the creative process and any obstacles encountered?
Probably ‘I See You, Do You See Me?’ it’s one of my favourite tracks. I love Pink Floyd and you can tell listening to it. I wasn’t sure at first when I wrote the riff if the song would make the cut but after Kenny brought the vocal melody and lyrics and Jack threw the guitar touches on the verses, I realized it was going to be a great track. Also, I wanted to have a special solo that wasn’t the usual thing for some reason it ended up being my favourite solo of the album. Not necessarily because of the number of notes, but because of the feel of the solo and how it suits the track. Needless to say, that having Rosalie and Molly on the backing vocals for this track made it just right too.
Ste Penn (Keys)
The keyboard elements in The Heavy North’s music add a unique and vital layer to the band’s sound. How do you go about selecting the right keyboard tones and textures to complement each song's mood and narrative?
It can sometimes be challenging when it comes to choosing the right keyboard sounds, especially when we’re performing live. When we’re in the studio have the time and the creative freedom to add different layers of sounds to our tracks, but then the challenge is how we replicate those different layers when we’re live on stage.
I tend to alternative between a few different core sounds such as the traditional Hammond sound, Fender Rhodes, Vox Continental, synths and phasers, and it’s all about playing what works for each track. Like you suggest, it’s about finding the most suitable sound for the song’s moods and narratives - and sometimes less is more!
Considering the varied musical styles across 'Delta Shakedown', can you talk about a specific song where you felt your drumming was particularly instrumental in shaping its sound?
I think the opening title track of the second album ‘Delta Shakedown’ is a good example of where the keys sounds are quite prominent throughout. I think it’s the first track where I play the Vox Continental sounds throughout the song except for a short keys solo towards the end.
Although it’s a bit more subtle than the opening track, I think my keys on the album track ‘Don’t Need Money’ helped to shape the sound – as this is a track that started off as a bit of an impromptu jam in the studio where I played repetitive arpeggios throughout – in fact, I don’t think there’s a single moment in the 4 minutes of ‘Don’t Need Money’ where I stop playing!
Can you explain the influence of classic artists like Ray Manzarek on your playing style?
I didn’t start playing the keyboard until my early twenties, and by that time I was already a massive fan of The Doors, as well as some other 60s/70s bands who use a lot of keys and organ sounds like the Small Faces, The Animals & The Zombies. I actually own a 1967 Vox Continental keyboard which I love, but it’s just not very practical to try and tour or travel overseas with such a vintage bit of gear.
What is your favourite keyboard solo or moment on "Delta Shakedown," and what makes it special to you?
Performing with the Northern String Quartet and other musicians at the Camp and Furnace, how did this collaboration impact your approach to the keys and the overall sound of the band?It would be easy for me to say the title track ‘Delta Shakedown’, but I think my favourite keys moment on the second album is the closing notes of the last track ‘Forever Without You’ which is just the fender Rhodes sounds ringing out with a rotary speaker effect. I think it was Jose who suggested we end the track like that, and it’s become one of my favourite keys moment on the album.
It’s such an incredible experience to perform with the guest musicians, as I feel it really brings our recordings to life when we’re all crammed on a stage. The Northern String Quartet, brass section and backing singers add a whole new dynamic to The Heavy North, and although it’s not something we have the opportunity to do all the time, it’s boss when it all comes together like it did at our huge hometown show at the Camp and Furnace.
Most of the guest musicians who joined us on stage also performed on the ‘Delta Shakedown’ recordings as well as our debut album ‘Electric Soul Machine’, so it’s only right that we pull them in for the live shows when we get the chance.
Mark (Drums & Percussion)
Your drumming provides a vital backbone to The Heavy North's sound. How do you approach the creation of drum parts that not only align with but also enhance the band’s diverse array of musical influences?
I try not to premeditate drum parts too much before we record. I’ve tried in the past to write them ahead of time and gone as far as programming them out beforehand, but I've learnt that 90% of the time, especially with our style of music, the first instinct is usually right.
At most I’ll go in with a loose theme I want to work into the drum part, which could be a feel, leaning on a specific pattern or piece of the kit or limiting myself on what I can use. This along with locking in with Andy’s bass parts usually gives me enough of a direction to jam the rest out.
Could you share the process behind developing a specific drum part for a song on "Delta Shakedown"?
When we first jammed ‘Where Are You Now?’ the groove in the chorus was the first thing that came to mind and it’s just a typical rock beat. I needed a way to vary the dynamics without straying too far from this groove, so I took the rhythm and split it around the toms in a linear pattern. It’s a very short song so it was a nice way of keeping the momentum while still having discernible sections.
What considerations do you consider ensuring it complements the overall composition?
In a band with a rich and layered sound like The Heavy North, what is your philosophy regarding the role and impact of percussion, and how do you strive to embody this in your performances?Not much besides considering whether it’s locking in with the rest of the rhythm section and is it stepping on what the lead instruments like the guitar or the vocals are doing.
Drums are a support instrument and I think this is truer the more members a band has. We have a lot happening at the front of the stage so overall I just want to drive the songs without overplaying or stepping on anyone’s toes.
Considering your performances in Spain, Gibraltar, and Kendal Calling Festival, how do you prepare for shows of varying scales and audiences, and how does this impact your drumming style?
I don't do much different for any show. I try and find somewhere to stretch and warm up, just to be as loose as possible and avoid my hands or legs cramping. I used to be able to go full pelt into a show with no problems when I was younger but if I don’t at least stretch before a gig nowadays I'm having a bad time when we get to the faster songs.
The best gigs are the ones where I’m loose enough that all the parts feel natural and I’m not thinking too much about them.
Considering the varied musical styles across 'Delta Shakedown', can you talk about a specific song where you felt your drumming was particularly instrumental in shaping its sound?
Not really, but as I mentioned before I feel the drum parts of ‘Where Are You Now?’ certainly helped shape the track.
Jack Birch (Guitarist)
Joining the band in January 2022 and working on 'Delta Shakedown', how have you found integrating into The Heavy North, and how has this influenced the guitar arrangements?
It was a very smooth transition. They’re a good team, and they made me feel very welcome from the get-go. The ‘Delta Shakedown’ sessions were the first time I’d been a part of the creative process; ‘Electric Soul Machine’ pre-dated me, so my job there was to fill out the soundscape in a live context and to help better replicate some of the layered guitars on the record etc.
I would definitely say that the experience of being a member of the band during that period helped when it came to arranging the guitar parts on ‘Delta Shakedown’. At that point we all knew how we worked together.
During the recent Camp and Furnace show, what challenges and opportunities did you encounter while playing as part of a larger ensemble?
Playing as ‘the big band’ is the best thing ever. It’s a great opportunity in itself. The only challenge comes in knowing when to drop back at times. For example, I play some lead parts on the ‘Electric Soul Machine’ live versions which compensate for the absence of stings and brass etc. so I have to make sure to remember we’re doing it for real!
The interplay between your guitar and Jose's creates a dynamic layer in The Heavy North's music. Can you discuss how you collaborate to craft these guitar layers and the creative process behind it?
I’ve known Jose and his playing for a long time, and he’s very easy to work with. The process varies: sometimes we just see what comes of the jam and capture as much as we can, other times we’ll pass snippets of recordings around and work on them in isolation.
I’m much more comfortable with the latter, but some of our best bits have come out of the jam. I’m often just trying to come up with subtleties that accentuate what Ken and Jose are doing.
Crafting guitar solos can be a deeply personal and expressive endeavour. What was your approach to creating the guitar solos for "Delta Shakedown," and is there a particular solo on the album that you feel especially proud of or connected to?
I don’t play any guitar solos on ‘Delta Shakedown’, though there are few songs that I squeeze some licks into. I really enjoy hearing and playing ‘Rosanna’. I love the shock when the harmonized lead lines kick in out of nowhere early in the song, and the ‘call and respond’ lick-off we do. I think we’re always looking to pull from the relationship between Peter Green and Danny Kirwan, or Keith Richards and Mick Taylor, as I’m sure most multi-guitar blues/rock bands do.
As a guitarist, your contributions greatly influenced the narrative and emotional tone of the band's songs. Can you discuss how you view your role in the storytelling aspect of the music and any specific examples where this is particularly evident?
I imagine we’re all part of the subject matter at some point or another. We’re close friends and spend time together outside of the music. I suppose songs like ‘Don’t Need Money’ and ‘Play It Safe’ deviate a lot from the riffs, licks and solos format. I do love the ‘melancholy’ in ‘Don’t Need Money’. I’ve commended Ken on many occasions for the broad range of emotions in his writing on this album.
Andrew Horrocks (Bass)
How has the expansion to a six-piece band and playing alongside additional musicians, like at the Camp and Furnace show, influenced your approach to bass playing?
Having another member join the band was great. The songs were able to have a little more depth. It also enabled other players to drill down into their parts and open up the songs. This in a way made me go back to studying some bass players I am influenced by. Brushing up on my theory and also enhancing my rhythm/feels to connect with the drums to form a solid backline section.
In a live situation it has been superb. Someone to keep me company on stage-left! Ha. The Camp and Furnace gig shows this more so. Each time we play as a band it makes us tighter and more comfortable with each other. A core foundation as a band then makes it seamless when other musicians join us from the album sessions.
Reflecting on the band’s tours and festival performances this year, can you share how these experiences have impacted on you’re playing style and your contributions to the band's evolving sound?
Playing live and especially in bigger band situations have forced my hand to play in lower registers where I am playing slightly higher up on the albums versions of songs. This has been good to adapt to as it has also led me to focus more on the drum rhythms and to syncopate and synchronize with some of Mark’s rhythms.
The bass often serves as the foundational element in a band's sound. How do you approach the creation of bass lines that not only provide support but also enhance and complement The Heavy North's distinct style?
It varies per song, I guess. As mentioned above, a solid backline gives a good foundation to the songs. The syncopation of Marko’s drums is a great inspiration at times for rhythmic patterns on the bass. That mixed with song melodies and chord structures brought in by whoever had the initial song idea has helped bring a style to the bass for The Heavy North.
In the context of blues rock music, and particularly within The Heavy North, how do you perceive the importance and role of the bass? Could you discuss a track from "Delta Shakedown" where your bass playing is especially pivotal or representative of your style?
My perception of the bass in The Heavy North is different to that of blues rock music. In The Heavy North there are a mixture of funk, punk rock and jazz influences. But aside from that, the bass is very important for all styles of music. Sometimes there is a blinkered view on the bass in that it is an afterthought to fill out a group, but when you begin to split up chords between the instruments in the band to create complex harmonies or arpeggiate chord progressions like we have done in ‘Don’t Need Money’, that’s when the fun begins!
The Heavy North Socials
