I am Brett Winterford. I fell off the back of the ‘band’ truck a little while back and I’ve since been filling the vacuum left behind with some gentle, melodic and (hopefully) memorable tunes.
Your debut EP The Greenthumb is inspired by a painting, can you tell us about it and why you chose this particular painting?
I wrote (and Josh Schuberth produced) this record with Sydney Long’s landscape ‘Pan’ as our muse.
Josh and I both love the sort of record that sounds like it belongs in the same space and time from start to finish. I’ve never achieved that before; Josh and I both wanted The Greenthumb EP to have a defining character.
One way to do that is to set constraints for yourself so you’re limited to a fixed range of ideas rather than the flood of information we take in on a daily basis.
I set myself a challenge to write a bunch of songs based on one piece of stimulus – in this case a painting. ‘Pan’, which hangs in the Art Gallery of NSW, is my absolute favourite.
In ‘Pan’, nymphs and satyrs dance sensually on the banks of a river set in a distinctly Australian landscape lined with ghost gums. European ideas meet the Australian wilderness – a natural fit for my recent adventures.
Does songwriting with a certain image in mind become easier or more challenging?
If the image works for your music, that constraint helps you make quicker decisions and (I hope) a better result. But if it doesn’t, the process is exceedingly difficult.
I actually found it easier to write these songs to a visual stimulus, primarily because the painting appealed to the kind of songs I wanted to write.
I’ve since thought about making another album about a painting by one of my favourite Bauhaus artists. But the more I stare at this painting, the more I realise I’d need to completely re-tool and make something sharp and angular to suit that work. And that would be quite opposite to where my natural talents fit.
So I guess the lesson is: know your limitations.
How much does your environment affect your songwriting?
It makes all the difference.
A few months back I was been commissioned to write more songs of ‘Greenthumb’ ilk that will be set on film to footage of the Australian wilderness. But when I started work on this material I was travelling through Europe and the States and it felt really forced. Now that I’m home the songs I need for that project are starting to work.
What’s your earliest memory of performing and who inspired you to start?
I started performing in pubs, mostly in Sydney’s inner-west. Half the time we were paid in booze and had to push the volume and performance to cut through the noise. Things markedly better today, but I reckon that was a good apprenticeship.
You’ve spent plenty of time touring overseas, how is it compared to playing in Australia?
Pros and cons on both sides.
You wouldn’t believe how courteous, warm and attentive audiences are in Germany or Denmark or The Netherlands, or how challenging they can be in LA or New York.
I’ve been very blessed in Europe to be part of a scene where the audience gives everything to the song. I hadn’t enjoyed that sort of atmosphere for some years in Australia, so I’ve been going back to Europe once or twice a year now for four years.
But lately things are turning around here at home. My friends and I started our own venue in Sydney called ‘High Tea’ three years ago that tried to mimic that feeling of a German coffee house show. Every show (65+) has sold out, and it’s been a lovely experience. We’re far from the only ones – DIY venues are popping up all over the shop. If you’re in Melbourne you should check out the ‘Sofar Sounds’ shows, or the ‘Fat Shan’ gigs in Perth. I’m sure there are countless others.
Do you have any particular ritual before you go on stage, or even a lucky charm you take with you?
An arvo kip is pretty special. I always sing well after an arvo kip. On long tours I go for Peppermint Tea about an hour before, or these fantastic lozenges they sell in Germany called ‘GeloRevoice’.
Because it’s more fun to do things together, which living Australian artist would you most like to collaborate with? Tell us why?
I’m really into Ainslie Wills and Abbe May at the moment, but I don’t know what I’d add to their sound. My ideal collaboration partner would be an Aussie version of Jimmy Tamborello, with me playing the Ben Gibbard role in our very own Postal Service.
What is your band’s music the best soundtrack for?
Apparently for nature docos. But for best results, play it on your headphones and lie in a hot bath.
Do you feel as if you make a concerted effort to try and convey visual settings through your music?
I tried to with this record – but it’s my first attempt – I wouldn’t say it’s my signature. I’m learning to write visually and The Greenthumb EP is the first baby steps on a long journey.
What can we expect from a Brett Winterford gig?
I’m trying to start a conversation. I occasionally bookend my gigs by starting with a personal story about a challenge I encountered, and finishing the show with a song about how it was overcome.
I’m not shy about saying that after my best shows, the audience feels a personal connection with me. I tend to enjoy a chinwag afterwards. That’s probably the biggest joy of the ‘troubadour’ life. There are all kinds of people out there.
Brett Winterford 2013 Australian Tour
Sat 9th Feb
Upfront Club, Maleny (QLD)
Sat 23rd Feb
Wesley Anne, Melbourne (VIC)
Fri 8th Mar
The Basement, Sydney (NSW)
Sun 10th Mar
The Bombie Bar, Wollongong (NSW)
Fri 15th Mar
Mars Hill Cafe, Sydney (NSW)
Thurs 21st Mar
The Ellington Jazz Club, Perth (WA)
Ticketing details available from www.brettwinterford.com
