Wanted by the Blues Police
Q&A with Chantel McGregor
Q&A with Chantel McGregor
Yorkshire’s progressive blues rock songstress Chantel McGregor, one of the most captivating performers on the scene today (flitting from acoustic to weighty southern gothic inspired rock to semi-improvisation), will be back on the road later in August to start a string of 23 UK shows that run through to December.
The dates will also help promote the live album Bury’d Alive, which will released in September.
The exceptionally talented and gifted singer-guitarist (at eight she became the youngest person in the UK to pass a Rock school exam; she later left Leeds College of Music with a 100% pass mark, 18 distinctions and a First Class Honours degree) took a few questions from FabricationsHQ to talk about her recent Ramblin’ Man Fair appearance, the bond with her fan-base, her Scottish connection and why it’s unlikely you’ll ever see or hear her play a 12 bar blues...
The dates will also help promote the live album Bury’d Alive, which will released in September.
The exceptionally talented and gifted singer-guitarist (at eight she became the youngest person in the UK to pass a Rock school exam; she later left Leeds College of Music with a 100% pass mark, 18 distinctions and a First Class Honours degree) took a few questions from FabricationsHQ to talk about her recent Ramblin’ Man Fair appearance, the bond with her fan-base, her Scottish connection and why it’s unlikely you’ll ever see or hear her play a 12 bar blues...
Ross Muir: You’re not long back from playing Ramblin’ Man Fair to a large and receptive audience on the blues stage; you got a great reception from the audience, many of whom would be unfamiliar with you...
Chantel McGregor: It was absolutely amazing. We flew back from holiday in Spain to do it and it was three days with no sleep, but it was so worth it.
It was a case of "Oh my goodness!" [laughs] because there were just so many people watching.
We did a full electric set; we completely rocked out and were noisy [laughs] but they all seemed to enjoy it. The people there were all just so wonderful, kind and lovely. I’m still kind of giddy from it to tell you the truth!
RM: It was also a fantastic opportunity to play to such a large audience because, as many of us know, no matter how talented, it can be hard to break out of that club circuit…
CM: Absolutely, it really was a great opportunity and so nice to meet new people,
There were fans there that had been to our gigs before but we had a lot of new people coming up and saying "I’d never heard of you but I’ll definitely be coming to your shows." That was just lovely to hear.
It was a wonderful experience but it’s also about making those connections with the fans, old and new, and being available to chat to the them; making those fans into friends, really.
They really do support you and they feel connected to you; it is so, so important to make those connections.
RM: I’ve caught some of the Ramblin' Man set from various posts and it was great to see you playing your progressively shaped, semi-improvised instrumental, April.
CM: Yeah, it was weird though because being an instrumental, and a ten minute epic of an instrumental at that – Pink Floyd meets Jeff Beck type of thing [laughs] – I’m always a bit hesitant with a newer audience because I’m thinking "will they get it?"
We did it at the Bradford Festival, just before Ramblin’ Man, and I was thinking the same thing, "should we put it in because it’s not exactly a festival song for a general audience."
But they loved it; it got the best response of the entire set. So we put it in at Ramblin’ Man, too.
RM: You’ve just perfectly highlighted what makes you that little bit different – you are categorised as blues rock but you are not a girl that’s going to stand there singing a 12 bar blues or another "my baby left me" number; nor are you scared to stretch or challenge yourself on stage…
CM: I think it’s very important to be varied and even be a little bold with it – it’s me saying "actually, I really love prog so I’m going to put a bit of prog in because I enjoy listening to it and enjoy playing it."
It’s about really going for it, playing what you enjoy playing and having the confidence to do it, rather than saying to yourself “well, everyone expects a 12 bar blues and a 'my dog died and my partner just left me' song so I’d best get on with it" [laughs]
It's just not me to do that. Actually I think I’m too stubborn to do that; I like doing my own thing!
RM: Which means you can also be fully expressive and true to your musical self – otherwise you’re just faking it, frankly.
CM: Yes, otherwise what’s the point, you’ll just end up sounding like everybody else.
We do the blue festivals and we really enjoy playing the blues festivals, but the truth is I think I’d be bored if I played a 12 bar for however how long.
You see so many blues bands at these festivals and they all seem to be playing the same song, over and over.
Then they’ll play a Jimi Hendrix number but it always seems to be the same ones they cover.
I just keep thinking at least show some originality with what you’re playing because everyone is doing that. Be yourself, have some confidence in your songwriting; go for it and do you own thing.
RM: So fair to say you’re not bothered by the Blues Police.
CM: No, and just as well because I’d have been arrested by now! [laughter]
RM: That expressive non-conformity shines though on the live album, Bury’d Alive.
Not only is April on that album you've also recorded your cover of Inconsolable, a number you tend to start very much in the style of the Jonatha Brooke original before taking it in a completely different direction.
CM: We do, yes. That’s such a beautiful song and is the only cover on the live album.
I first heard it when we working on Lose Control, four years ago. Our producer played it to me and I thought "Oh my God, that song is amazing, just incredible." I really wanted to play it but then didn’t play it for what seemed like forever [laughs].
It’s only been more recently we’ve put it in the set because it is such a gorgeous song and you can do so much with it through improvisation. It’s not a set in stone kind of thing when we do it live, we can open it up as much as I want and play around with it dynamically.
It’s just such a me song really, messing about with it and improvising [laughs].
RM: I think "messing about" is doing yourself a serious injustice but it would make a helluva tee-shirt: "Messing about and improvising" [laughter]
CM: Yes! [laughs] That should be my motto!
RM: Joking aside, there’s a similar treatment, live, to your own song Eternal Dream; that’s a lovely, Jeff Buckley-esque number from Lose Control that you have started to really stretch out on, live.
It’s also another highlight of Bury’d Alive.
CM: It’s only recently we’ve started to really open that song up, and have a big solo at the end, but I didn’t ever really play it live as it was originally.
It’s a nice song but I was always a bit conscious that maybe people wouldn’t get it because it is a bit out there and very Jeff Buckley, as you mentioned.
But then I thought maybe I can make it into something else; something that connects more within the live set and ties in with songs like April. So we played around with it and now it has that improvisational aspect to it, and much more guitar.
RM: That all ties back in to what you have being saying about the fans and the connection; once they get you they really get you.
That’s true of all your audiences but it’s very evident when you play up here north of the border, particularly Glasgow – no matter how large or small that audience there’s a real and genuine connection.
CM: I think there is, yes. We’ve played Glasgow for quite a few years now and it’s always a wonderful crowd. No matter who turns up, it’s always lovely people that are into it.
We’re also playing Edinburgh and Kinross this time around so it’s fantastic to be playing three Scottish dates.
When I first played up in Scotland – I’ve been coming up since I was about eighteen – we would play places like Largs, doing the Hotel and pub gig circuit, but the gigs would be rammed out; absolutely heaving.
And the people were always lovely; we just seem to get embraced up in Scotland.
Maybe it’s something to do with my ancestral connection! [laughs]
RM: With a name like McGregor there has to be Scottish DNA.
CM: There is. My great grandad was from Glasgow!
RM: For generations Glasgow audiences have had a reputation for warming to acts or bands that give it everything or are that little bit different, from the crooners and dance hall acts of yesteryear to pioneering groups such as ELP, who made a lot of trips north of the border in their early years.
If an artist or band are giving of themselves and not just phoning it in Glasgow audiences really do sense, and appreciate, that.
CM: That probably is part of it, yeah, because we don’t get up on stage with any pretence; we’re just three musicians, on stage, having a wonderful time, playing music that we love, going for it and giving it some welly [laughs]. That is something that really does seem to be embraced by Glasgow; they really do love it.
RM: But, on the other non-applauding hand, if you’re not doing a good job or not giving it your best…
CM: …Glasgow audiences will tell you! [laughs]. Yeah I’ve heard that; maybe that’s what makes Glasgow and Yorkshire audience so similar! [laughs]
RM: There are a lot of similarities; I’ve always felt Glasgow and the surrounding area should be twinned with Yorkshire.
CM: They really should. I think Glasgow and Yorkshire are very similar, personality wise; similar in a lot of different things in fact.
RM: We’ve talked about the live album but it’s been four years since your last studio release, Lose Control.
There is some expectation, and not a little fan demand, for a new studio album.
CM: We’re actually working on a new studio album now and I’m also working on an acoustic album.
In fact we’re going in to the studio within the next week to work on the acoustic one.
RM: That’s a real win-win for the fans because you’re as noted for your acoustic treatments as you are for your very distinct and original blues rock. Lose Control contained a very powerful set of songs with a dark, southern gothic influenced vibe. They also work fantastically well live.
CM: That was the most important thing for me with Lose Control; I wanted to develop the songs first and foremost to be played live but then build bigger instrumentation around them, make them evolve and make them a bit deeper, for the studio side of things. But it was very important that they worked live.
Everyone expects Lose Control songs to be in the set but that’s great because we love performing them; they are a real joy to play.
RM: New tour, live album, forthcoming acoustic album and upcoming all-new studio album.
You wait four years for a Chantel McGregor bus then four turn up at once... [laughter]
CM: That is my life, literally; my life is like waiting for a bus! [laughter]
Actually the reason why a new album hasn’t happened sooner is family; we were looking after my grandma year before last, pretty much 24/7, and then she passed last year; that has to take priority.
Then other priorities become more important but you’re also thinking "I really need to get an album out" and be doing this and doing that but, really? No, you need to be there for each other, first and foremost.
RM: Absolutely; it’s should always be about family and the bigger picture first; the rest will take care of itself.
Talking of family, I take it your dad is still your biggest critic?
CM: Yes he is and he still drives me bonkers! [laughter].
I must tell you, when we came back to Spain on the back of the three days no sleep Ramblin Man travel, the very next day we went out for some lunch and my dad just talked incessantly about what we need to do next, how do we market this and what about that and what’s the game plan here… and I’m thinking "Right now? Seriously?" [laughter]
RM: Brilliant. I should also say to anyone attending one of your shows, if they haven’t already done so they should stand next to your dad for a while because it’s worth the admission fee on its own watching him take notes and tutting even when you’re playing an absolute blinder…
CM: [laughs] And it will be no different on this tour – you all wait and see!
Ross Muir
Q&A with Chantel McGregor
August 2019
Photo Credit: Mark Rutherford
Chantel McGregor: It was absolutely amazing. We flew back from holiday in Spain to do it and it was three days with no sleep, but it was so worth it.
It was a case of "Oh my goodness!" [laughs] because there were just so many people watching.
We did a full electric set; we completely rocked out and were noisy [laughs] but they all seemed to enjoy it. The people there were all just so wonderful, kind and lovely. I’m still kind of giddy from it to tell you the truth!
RM: It was also a fantastic opportunity to play to such a large audience because, as many of us know, no matter how talented, it can be hard to break out of that club circuit…
CM: Absolutely, it really was a great opportunity and so nice to meet new people,
There were fans there that had been to our gigs before but we had a lot of new people coming up and saying "I’d never heard of you but I’ll definitely be coming to your shows." That was just lovely to hear.
It was a wonderful experience but it’s also about making those connections with the fans, old and new, and being available to chat to the them; making those fans into friends, really.
They really do support you and they feel connected to you; it is so, so important to make those connections.
RM: I’ve caught some of the Ramblin' Man set from various posts and it was great to see you playing your progressively shaped, semi-improvised instrumental, April.
CM: Yeah, it was weird though because being an instrumental, and a ten minute epic of an instrumental at that – Pink Floyd meets Jeff Beck type of thing [laughs] – I’m always a bit hesitant with a newer audience because I’m thinking "will they get it?"
We did it at the Bradford Festival, just before Ramblin’ Man, and I was thinking the same thing, "should we put it in because it’s not exactly a festival song for a general audience."
But they loved it; it got the best response of the entire set. So we put it in at Ramblin’ Man, too.
RM: You’ve just perfectly highlighted what makes you that little bit different – you are categorised as blues rock but you are not a girl that’s going to stand there singing a 12 bar blues or another "my baby left me" number; nor are you scared to stretch or challenge yourself on stage…
CM: I think it’s very important to be varied and even be a little bold with it – it’s me saying "actually, I really love prog so I’m going to put a bit of prog in because I enjoy listening to it and enjoy playing it."
It’s about really going for it, playing what you enjoy playing and having the confidence to do it, rather than saying to yourself “well, everyone expects a 12 bar blues and a 'my dog died and my partner just left me' song so I’d best get on with it" [laughs]
It's just not me to do that. Actually I think I’m too stubborn to do that; I like doing my own thing!
RM: Which means you can also be fully expressive and true to your musical self – otherwise you’re just faking it, frankly.
CM: Yes, otherwise what’s the point, you’ll just end up sounding like everybody else.
We do the blue festivals and we really enjoy playing the blues festivals, but the truth is I think I’d be bored if I played a 12 bar for however how long.
You see so many blues bands at these festivals and they all seem to be playing the same song, over and over.
Then they’ll play a Jimi Hendrix number but it always seems to be the same ones they cover.
I just keep thinking at least show some originality with what you’re playing because everyone is doing that. Be yourself, have some confidence in your songwriting; go for it and do you own thing.
RM: So fair to say you’re not bothered by the Blues Police.
CM: No, and just as well because I’d have been arrested by now! [laughter]
RM: That expressive non-conformity shines though on the live album, Bury’d Alive.
Not only is April on that album you've also recorded your cover of Inconsolable, a number you tend to start very much in the style of the Jonatha Brooke original before taking it in a completely different direction.
CM: We do, yes. That’s such a beautiful song and is the only cover on the live album.
I first heard it when we working on Lose Control, four years ago. Our producer played it to me and I thought "Oh my God, that song is amazing, just incredible." I really wanted to play it but then didn’t play it for what seemed like forever [laughs].
It’s only been more recently we’ve put it in the set because it is such a gorgeous song and you can do so much with it through improvisation. It’s not a set in stone kind of thing when we do it live, we can open it up as much as I want and play around with it dynamically.
It’s just such a me song really, messing about with it and improvising [laughs].
RM: I think "messing about" is doing yourself a serious injustice but it would make a helluva tee-shirt: "Messing about and improvising" [laughter]
CM: Yes! [laughs] That should be my motto!
RM: Joking aside, there’s a similar treatment, live, to your own song Eternal Dream; that’s a lovely, Jeff Buckley-esque number from Lose Control that you have started to really stretch out on, live.
It’s also another highlight of Bury’d Alive.
CM: It’s only recently we’ve started to really open that song up, and have a big solo at the end, but I didn’t ever really play it live as it was originally.
It’s a nice song but I was always a bit conscious that maybe people wouldn’t get it because it is a bit out there and very Jeff Buckley, as you mentioned.
But then I thought maybe I can make it into something else; something that connects more within the live set and ties in with songs like April. So we played around with it and now it has that improvisational aspect to it, and much more guitar.
RM: That all ties back in to what you have being saying about the fans and the connection; once they get you they really get you.
That’s true of all your audiences but it’s very evident when you play up here north of the border, particularly Glasgow – no matter how large or small that audience there’s a real and genuine connection.
CM: I think there is, yes. We’ve played Glasgow for quite a few years now and it’s always a wonderful crowd. No matter who turns up, it’s always lovely people that are into it.
We’re also playing Edinburgh and Kinross this time around so it’s fantastic to be playing three Scottish dates.
When I first played up in Scotland – I’ve been coming up since I was about eighteen – we would play places like Largs, doing the Hotel and pub gig circuit, but the gigs would be rammed out; absolutely heaving.
And the people were always lovely; we just seem to get embraced up in Scotland.
Maybe it’s something to do with my ancestral connection! [laughs]
RM: With a name like McGregor there has to be Scottish DNA.
CM: There is. My great grandad was from Glasgow!
RM: For generations Glasgow audiences have had a reputation for warming to acts or bands that give it everything or are that little bit different, from the crooners and dance hall acts of yesteryear to pioneering groups such as ELP, who made a lot of trips north of the border in their early years.
If an artist or band are giving of themselves and not just phoning it in Glasgow audiences really do sense, and appreciate, that.
CM: That probably is part of it, yeah, because we don’t get up on stage with any pretence; we’re just three musicians, on stage, having a wonderful time, playing music that we love, going for it and giving it some welly [laughs]. That is something that really does seem to be embraced by Glasgow; they really do love it.
RM: But, on the other non-applauding hand, if you’re not doing a good job or not giving it your best…
CM: …Glasgow audiences will tell you! [laughs]. Yeah I’ve heard that; maybe that’s what makes Glasgow and Yorkshire audience so similar! [laughs]
RM: There are a lot of similarities; I’ve always felt Glasgow and the surrounding area should be twinned with Yorkshire.
CM: They really should. I think Glasgow and Yorkshire are very similar, personality wise; similar in a lot of different things in fact.
RM: We’ve talked about the live album but it’s been four years since your last studio release, Lose Control.
There is some expectation, and not a little fan demand, for a new studio album.
CM: We’re actually working on a new studio album now and I’m also working on an acoustic album.
In fact we’re going in to the studio within the next week to work on the acoustic one.
RM: That’s a real win-win for the fans because you’re as noted for your acoustic treatments as you are for your very distinct and original blues rock. Lose Control contained a very powerful set of songs with a dark, southern gothic influenced vibe. They also work fantastically well live.
CM: That was the most important thing for me with Lose Control; I wanted to develop the songs first and foremost to be played live but then build bigger instrumentation around them, make them evolve and make them a bit deeper, for the studio side of things. But it was very important that they worked live.
Everyone expects Lose Control songs to be in the set but that’s great because we love performing them; they are a real joy to play.
RM: New tour, live album, forthcoming acoustic album and upcoming all-new studio album.
You wait four years for a Chantel McGregor bus then four turn up at once... [laughter]
CM: That is my life, literally; my life is like waiting for a bus! [laughter]
Actually the reason why a new album hasn’t happened sooner is family; we were looking after my grandma year before last, pretty much 24/7, and then she passed last year; that has to take priority.
Then other priorities become more important but you’re also thinking "I really need to get an album out" and be doing this and doing that but, really? No, you need to be there for each other, first and foremost.
RM: Absolutely; it’s should always be about family and the bigger picture first; the rest will take care of itself.
Talking of family, I take it your dad is still your biggest critic?
CM: Yes he is and he still drives me bonkers! [laughter].
I must tell you, when we came back to Spain on the back of the three days no sleep Ramblin Man travel, the very next day we went out for some lunch and my dad just talked incessantly about what we need to do next, how do we market this and what about that and what’s the game plan here… and I’m thinking "Right now? Seriously?" [laughter]
RM: Brilliant. I should also say to anyone attending one of your shows, if they haven’t already done so they should stand next to your dad for a while because it’s worth the admission fee on its own watching him take notes and tutting even when you’re playing an absolute blinder…
CM: [laughs] And it will be no different on this tour – you all wait and see!
Ross Muir
Q&A with Chantel McGregor
August 2019
Photo Credit: Mark Rutherford