Elderbrook Interview: New Label Plans, Defining His Sound, Most Personal Song + More
Elderbrook has established himself as a dynamic force in electronic music, seamlessly bridging the gap between emotive songwriting and dancefloor energy. Known for his Grammy-nominated hit ‘Cola’, the British multi-instrumentalist has since built a diverse catalogue that refuses to be boxed into a single genre, earning a reputation for his ability to mix organic instrumentation with electronic textures.
We recently had the chance to sit down with the artist to discuss the evolution of his sound and his journey so far. In the interview below, Elderbrook opens up about his return to a ‘raw’ aesthetic in his new material and explains how the track ‘Numb’ was pivotal in helping him merge his indie background with his electronic success. He also breaks down the crucial difference between his DJ sets and his immersive live shows.
You write, sing, and produce – which of these elements came first in your music journey?
Songwriting was first, I think. I was always making lyrics and songs. I only learnt to produce as a way to bring them to life.
Your early EP work, like ‘Simmer Down’ and ‘Could’, had a distinct, stripped-back minimalism compared to the fuller soundscapes of today. Do you ever find yourself wanting to return to that raw aesthetic, or has your production style naturally outgrown it?
The direction of the Elderbrook production style has definitely moved around a bit over time. The new music I’m working on, I am specifically excited about, as I’m tapping back into that “rawness” you mentioned. Not so minimalist as before, but definitely more organic and real.
If you had to pick one album of yours that represents Elderbrook the best, which would you send to someone to help them understand the music you create?
I’d say that would be my first album. Has the widest range of different styles, I think. Big indie songs like “Down by the Bay,” but then also the electronic stuff like “Numb.”
Your ‘Hotel Room Sessions’ have become a cult favourite among fans. How does the limitation of a small setup in a hotel room force you to be more creative compared to sitting in a fully equipped studio?
It’s honestly not that different. When I’m in the studio, I’m basically doing the same thing. The only difference is that in a hotel room, I have to hold the microphone and look pretty doing it.
Which has been the most personal song you have written to date?
That would be “Talking” – I’ve come to see it as a message to myself. A time in my life when I was, perhaps, being too self-involved and generally unlikable.
Your vocals are such an important element in your shows. What does your vocal warm-up actually entail before a show?
The vocal warm-up has changed over the years! It used not be non-existent. Then, for a while, I’d sing along with old gospel music to warm up. Recently, though I’ve taken to proper warm-up tutorials online, but they are….. boring.
‘Little Love’ felt very focused on the Elderbrook project with minimal features, while ‘Another Touch’ is packed with high-level talent. How did you go about selecting the collaborators for this project?
I’m always writing with different people all the time. A great majority of them never see the light of day! I just pick the best songs for the album.
On that note, you worked with Vintage Culture on ‘Run’ and Carlita on ‘Wait For You’. When bringing these club-heavy producers into your world, how do you ensure the emotion of the songwriting isn’t lost in heavier production?
It can be hard sometimes, especially when a lot of club music can be rooted in just a single note for practically the whole song. All I need is a couple of chords. You can change the drums or the sounds of a song, but as long as there’s music and melody, it’ll always be the same song!
You also have the ‘Goodlife’ alias with Jacob Manson. How do you decide when a track fits that specific vibe rather than being an Elderbrook release?
Our music, as Goodlife, tends to be more indie-leaning than the music I release as Elderbrook. I come from a band background. That was my first love, and I’m happy I get to still release music like that at the same time.
Looking back at your catalogue, what has been your favourite collaboration so far?
“Howl” with Tourist. Purely because of the lyrics. Written for my children. It still absolutely gets me every time I sing it onstage.
Outside of ‘Cola’, which track do you feel has been the most impactful on your career?
Possibly “Numb” – I think after “Cola,” I was struggling to realise what my sound was. I was releasing more organic, slower music until this monster hit with “Cola,” which thrust me into a different space, sonically. I remember then being torn for a while about which direction to follow. Turns out you can combine the best of both with music like “Numb.”
You are known for playing fully live shows rather than just DJ sets. How does the live performance differ from a DJ set for you, and how difficult is it to travel with all that hardware?
I’ve always been predominantly a live artist. Though, because it’s electronic music, I was finding myself playing before/after DJs, and the music made sense in that world also. DJ sets are fun. I get to choose from a much wider pool of music than just my own. Then with the live shows, they are more personal, obviously. The live shows are a lot more interesting to watch though — it’s a show! I’m actually playing the music and singing, etc.
It seems you have your own label now in ‘Mine’. Do you ever see yourself opening that up to other artists?
Absolutely. Might get this next album out of the way first and get it going.
Stream Elderbrook’s new song ‘Bette Davis Eyes’ below
