‘It feels good to finally have a solo record out – it should have come out years ago…’

Sophia Bye Bye

UK singer-songwriter Sophia Marshall has just released her first solo album, Bye Bye. Formerly one half of Americana duo The HaveNots, from Leicester, Sophia decided to go it alone in 2015.

Bye Bye is a strong, confident and varied debut record – from the killer, radio-friendly guitar pop of Losing You, to the gorgeous, late-night, organ-soaked country of  Flares, the jaunty, ’50s rockabilly of Missing Piecethe edgy and disturbing, trip-hop-tinged Hey Al, Woah! and the sea shanty Drunken Sailor.

I spoke to Sophia to find out how the album came together…

Q & A

Hello Sophia, but I should really say ‘Bye Bye’… How does it feel to have your first solo album out there? Was it scary going it alone?

Sophia Marshall: It feels good to finally have a solo record out – I feel like it should have come out years ago. It’s actually not too scary going it alone, as, funnily enough, I have managed to surround myself with even more influential musicians and confidants, which is very different from previously being in a duo.

Are you pleased with the record? 

SM: I’m really pleased with it, considering it was mostly done on a shoestring, pulling in favours. I like to think we did well. And I’m proud to have worked with some wonderful musician friends, including Andy Jenkinson, who produced the album. He breathes life into my ideas. And lets me try silly things.

Did you have a big pool of songs to dip into? How did you decide which ones made the final cut? It’s quite an eclectic album – pop, country, rockabilly, a sea shanty and even a bit of trip-hop…

SM: At first, the songs were recorded fairly sporadically. I only really wanted to get polished versions of some old songs down. There was no real deadline set initially, but. at the start of 2017, I decided it needed to be completed and officially released. Conveniently, I was inspired to write some new songs, which were added to the list.

Where was the album recorded and what was the process like? Was it an enjoyable record to make?

SM:It was partly recorded at Andy’s home studio, definitely all mixed there, and partly recorded at The Paddocks Studios, [in Melton Mowbray] – a place I once lived and worked.

Normally, I demo the songs on my own before taking them to the band, or sometimes just Andy, to see how they can be developed. It’s the people who make the process enjoyable. It was great working on my own material, but, at the end of the day, the people around me inspired and encouraged me, which is a real blessing.

Let’s talk about some of the songs. Losing You is a big, guitar pop tune – very instant and infectious. Where did that track come from? It sounds like your shot at getting on the Radio 2 playlist…

SM: That’s a fair comment. Radio 2 airplay would be splendid. Losing You was actually on the never released, third HaveNots album, Weakender.

Liam Dullaghan [from The HaveNots] and I wrote the song in a slow, acoustic fashion, but I had wanted to pump some indie-pop/ folk-rock life into it for a long time. My new bandmates helped me to do exactly that. I also added the middle eight, which I guess came from some Britpop musical influences of my teenage years.

‘Flares was written by candlelight, under the influence of red wine, on an acoustic guitar’

Flares is one of my favourite songs on the album. What can you tell me about that track?

SM: What can I tell you about Flares? It was written by candlelight, under the influence of red wine, on an acoustic guitar, in a house I had been in for less than a year, after a huge chapter of my life had ended. I was finally switching my focus from looking backwards to looking forwards.

When we came to record it, I had been listening to Frazey Ford’s Indian Ocean. Obviously I had listened to it non-stop when Sarah [Marshall – Sophie’s sister] and I were backing vocalists for her on that first album tour of the UK, but it wasn’t until about a year later the album stopped feeling like homework and I could enjoy it for all that it was. So I think there’s a sprinkle of Frazey in Flares.

Missing Piece is very ’50s/ rockabilly-country. Where did that track come from? 

SM: It was originally written in the same vein as a Camera Obscura song called Fifth In Line to the Throne – a lot slower and ballad-like, but I think this changed around the same time I decided to shake up Losing You. I guess I was fed up with the melancholy sound of things for a while. It’s about the realisation that you don’t actually mean all that much to a person who had once made you feel like a huge and special part of their life.

Hey Al, Woah? is one of the darker songs on the album – arguably the darkest. It features the lines: “You can’t go around saying shit like that to girls”, and “you should know no means no”…

Where’s that track coming from lyrically and musically? It’s very personal – a disturbing and edgy song, with shades of ’90s trip-hop. It has echoes of Martina Topley-Bird, who sang with Tricky…

SM: It was a very late addition to the album – a very new song. I spent a lot of time with a songwriter who loved Portishead. I think the feel of Hey Al… comes from that, but, lyrically, it was inspired by a person who I had exhausted my every effort of politely saying ‘no’ to. I’m not easily intimidated, but the psychological disturbance got to me – something snapped. I started worrying that the next girl may find his approach threatening…

Earlier this year, you played live in the basement of The Green Note in Camden, supporting  US singer-songwriter Chris Mills – you did two nights in a row. I went to both shows – they were great. Chris has been a big help and influence on your career, hasn’t he? He worked with you in The HaveNots. Aren’t there some unreleased songs from the recording sessions you did with Chris?

SM: Chris has always been a great help and, indeed, a great influence on me, musically. There is a whole album of HaveNots songs still unreleased, which Chris Mills produced.

Losing You, as I mentioned earlier, was one of them, and, actually, also Beauty Sleep, which I used on my album. I just didn’t want those songs to go to waste after all the hard work Chris and the team in Chicago had put into them. But even before that, Chris had helped Liam and I get over to tour America and release our first album Bad Pennies over there, too. Chris has a great heart and is a great songwriter.

Full Band Promo Pic

How did you launch your new album? Didn’t you do a six-hour, live-streamed house concert tour of the Midlands? How was that? You’ve been touring with Case Hardin, too. What was that like?

SM: I did more than a six-hour tour! It was more like 12 hours and it was a great, Challenge Anneka-style adventure. Pulling up at my old music college where I met Liam, racing off to a coffee shop near where I live now, and then over to a music shop in Nottingham, where I have a habit of drooling over all the acoustic guitars.

Then we started running behind schedule, when another Leicester venue performance at Firebug was late, which made us late for our Melton Mowbray appearance, to the point where the venue’s owners apologised, but said they couldn’t put us on, as the main band had arrived. But, as we walked off, people who had been waiting ran after us and managed to set up a last-minute gig at a bar down the road. Then we stopped to eat and catch our breath before an intimate. live-streamed performance of Flares, while we waited for the Simon and Garfunkel tribute band to finish at The Musician, so we could serenade people out the back of the bus while they left the gig.

We had a handful of shows with Case Hardin and Samantha Parton and Jolie Holland (The Be Good Tanyas), who were all so nice to catch up with again after years of being out of the scene myself. We also opened for The Sadies in Bristol and we had a sold-out show with Eilen Jewell.

What music – new and old – are you currently listening to?

SM: I’ve been enjoying the Samantha Parton and Jolie Holland album Wildflower Blues. The title track is my favourite. I also made a point of revisiting the Tom Petty album Wildflowers, which I thought was a good one to follow that. Also Mountaintop Junkshop, who are from my hometown.

Finally, what are your plans for 2018?

SM: I’ll be catching up with admin, checking the festivals and, hopefully, starting work on some new material. We have gigs in March 2018 and I’m working on a monthly, free download EP, having a bit of fun with some pop songs.

Bye bye, Sophia…

Sophia Marshall’s album Bye Bye is out now: http://www.sophiamarshall.co.uk/


INTERVIEW- Lucette: “When I was little, I dreamt of being Shania Twain”


Last year, I saw 21-year-old singer/songwriter Lucette play at The Ruby Lounge in Manchester, where she was supporting The Secret Sisters. 

I was knocked out by her gorgeous voice and the way in which she turned her hand to country, pop, folk and blues.

For someone so young, she has an impressive list of  influences, from Bobbie Gentry to Ryan Adams, Townes Van Zandt and traditional murder ballads.

Now she’s gearing up for the release of her debut album, which is due out later this year. I spoke to her recently to find out more about it.

It’s been a while since we met each other in Manchester. What have you been up to since then?

Quite a bit actually. I’ve written and recorded a brand new album. Just after I left the UK and Ireland last year, I flew down to Nashville and recorded six new songs. Also, in the summer of last year, I made a music video for my song Bobby Reid.

I was really impressed by your live performance. You reminded me of Bobbie Gentry, vocally. Is that a good comparison?

It’s funny you say that, as I’d actually cite her as one of my biggest influences, especially in my writing. Her Ode to Billie Joe record is one of my favourites and it’s a good clue as to what my album will sound like.

I liked your live cover version of Ryan Adams’s Sweet Carolina.  Are you a big fan of his?

I’d say he’s in my top five, if not my favourite. So I guess you could call me a fan. Heartbreaker is my favourite album.


Mine, too. Your debut EP, Baby I Want You Home, came out last year. How was it working with producer Dave Cobb, who’s also worked with Waylon Jennings and The Secret Sisters?

Dave is unbelievable to work with. He’s really helped me to become the artist I’ve always wanted to be. I’d almost be inclined to call him a really cool, older brother, who leaves new records out for you and tags you around with his friends, or something. I think we are like family, too. We’ve gotten to know each other so well that I will literally fly into Nashville and we’ll take a song of mine, or write a new one, and record it within days. I think we just get each other.

Your debut EP  is really varied. The title track is ’60s pop, there’s country (Dream With Me Dream) and also a dark, haunting murder ballad – Bobby Reid. Who and what are your main influences as a songwriter? 

Two years ago, when I was writing a good portion of the album, I was really into ’60s country-pop artists like Skeeter Davis. While recording, I wrote the song River Rising, which sprouted into other folky, darker songs like Bobby Reid. There’s this really cool quote by Flannery O’Connor that says, “I write because I don’t know what I think until I read what I say”. I love that quote because I feel like I relate to it. The darkness and melancholy in my music comes from my most inner thoughts. I think these fictional stories like murder ballads, about dark characters, are a part of myself that I didn’t embrace until writing stories in song. I’d say Bobbie Gentry, Ryan Adams, Gillian Welch, Neil Young, and Irish ballads and traditional music have been the greatest influences on my writing.

What was it like recording in Nashville ?

As cheesy as it may sound, it was seriously a dream come true. I got to write with a cowboy called Brent Cobb. Within my first week of arriving it was like, okay, I’m actually recording in Nashville, and I’m writing with a cowboy with a dip in his lip. Dave really cares about making good, organic, and memorable music. Working with Dave and other musicians on my album reinforced that I was in the town where the best of the best recorded.  It altered the way I look at making records and changed the course of the rest of my career.

When can we expect to hear your new material? Will the album come out soon?

I’m hoping to release it sometime in the spring of 2013. I’m aiming for April.

What was it like growing up in Edmonton? What sort of music did you grow up with? Did you sing and play piano when you were a child?

Edmonton is probably the best place for a kid to grow up. Similar to Nashville, it has a small town/big city vibe. I went to Catholic church every Sunday, which I think had some sort of weird influence over the way I write.When I was little, I always dreamed of being like Shania Twain – I really wanted a denim-on-denim outfit like hers. I grew up mostly on country. Alberta is Canada’s cowboy country, and I loved that culture growing up. My grandmother introduced me to Elvis, Patsy Cline, Dolly Parton and Loretta Lynn, who are still some of my favourite artists. Then I got into Townes Van Zandt, Johnny Cash, The Beatles and Simon & Garfunkel. I never sang in front of anyone, only in church when I was trying to behave. I started piano lessons at eight years old, but I quit after a couple of years. I picked it up again in junior high, putting speakers next to the piano and figuring out songs by ear.

What music are you currently into? Hmm. I really like Hem, Father John Misty, my good friend Meg Olsen (she just released her new EP), and The Carter Family. But then there are always my staples, which were mostly mentioned throughout this interview, but also include Amy Winehouse, Aretha Franklin, the Everly and Louvin Brothers, Neil Young, Ray Lamontagne and, of course, The Secret Sisters.

What are your plans for the rest of 2013? Well, after this album and video are released, I hope to tour as much as I can. Everything is in the works right now though, and boy, am I excited.

lucette ep

Lucette on Soundcloud