A Young Blues Man's Travels
Muirsical Conversation With Connor Selby
Muirsical Conversation With Connor Selby
Young British blues singer-guitarist-songwriter Connor Selby first caught attention with 2018 debut album Made Up My Mind and some noteworthy live performances, including a prestigious Wembley Stadium support slot to The Who in 2019.
Made Up My Mind also showcased a fairly mature singer for his age, and an equally mature player, one influenced by, and immersed in, American-roots blues.
2021’s follow-up could only have been named Connor Selby as it’s very much who the young musician is – or more accurately an impressive pointer to the player he wants to be and, with a fair blues wind, will become.
That blues wind was behind his back in 2023 when the Connor Selby album got a major label release as a Deluxe Edition with 4 bonus tracks; there were also significant support slots to blues luminaries Robert Cray and Beth Hart, plus headline dates later in the year.
2024 has also started well, with Connor Selby as special guest on Joanne Shaw Taylor's February UK tour.
Connor Selby sat in with FabricationsHQ prior to hitting the road with Joanne Shaw Taylor to talk about the Deluxe Edition of the album, his interesting back story, and why a genuine respect for the blues is as important to him as playing the blues…
Made Up My Mind also showcased a fairly mature singer for his age, and an equally mature player, one influenced by, and immersed in, American-roots blues.
2021’s follow-up could only have been named Connor Selby as it’s very much who the young musician is – or more accurately an impressive pointer to the player he wants to be and, with a fair blues wind, will become.
That blues wind was behind his back in 2023 when the Connor Selby album got a major label release as a Deluxe Edition with 4 bonus tracks; there were also significant support slots to blues luminaries Robert Cray and Beth Hart, plus headline dates later in the year.
2024 has also started well, with Connor Selby as special guest on Joanne Shaw Taylor's February UK tour.
Connor Selby sat in with FabricationsHQ prior to hitting the road with Joanne Shaw Taylor to talk about the Deluxe Edition of the album, his interesting back story, and why a genuine respect for the blues is as important to him as playing the blues…
Ross Muir: 2023 was a good year for you, in term in terms of live exposure – touring in support to Robert Cray then Beth Hart, your own headline tour later in the year, and a promotional boost for your 2021 self-titled album when it was released on Provogue as a Deluxe Edition with bonus tracks.
Connor Selby: Yes, I’m really grateful that Provogue decided to take the album on; the fact that I was able to both re-release it and give it a boost with bonus tracks was great.
When you’re an independent artist it’s very hard to give an album that sort of promotion; when I self-released it in 2021, I had really limited resources and little to no knowledge about how to properly release an album. So, in terms of the PR side of things and promotion, it really didn’t get the chance that it deserved.
But Provogue gave it that chance, as well as world-wide distribution, so people in the wider blues market, across the world, have now been able to hear it.
That really means a lot to me and I’m glad that it’s done so well on its re-release.
RM: There’s a highly respectful, old-school feel to the Connor Selby album, in terms of the songs and song-writing, your playing, and your vocality.
Indeed your vocal style is very direct and narrative driven; the lyrical story becomes as clear, and as important, as the music, which nods to the great bluesmen of the past.
CS: Thank you. To a certain extent I think that’s all ingrained in my personality. I appreciate simplicity and directness, in general, in life; that comes across in my style of singing, I think.
But, yeah, it is inspired by all the great artists that I love; people like Ray Charles, Bill Withers, and other singers who may not have the greatest range.
In fact in some respects, and especially with someone like Bill Withers, who was limited in vocal range, those sorts of singers were able to put themselves in the song, and carry the message of the song through their delivery – they were able to get across the emotional aspects of the lyrics, which is something that’s really important to me.
I’m not technically the best singer in the world, and I’ve got a lot of limits to my voice, but in a way that’s kind of been a gift, because I’ve really had to make the most of what I have – working on my phrasing, and delivery.
RM: Blues is such an honest and expressive medium that the storytelling, or lyrical narrative, is an intergral component. But then that’s the same as the notes from a blues guitar; it’s equally important to play notes, or phrase a solo, that complement, or play in sympathy, to the lyric.
CS: One hundred percent. Many of the great blues players, or instrumentalists, will say that they are always trying to emulate the sound of the human voice; I certainly am when I play.
I think, also, it’s nice that there’s a kind of synergy between my guitar playing and my voice; a similar tone, similar phrasing.
RM: That voice and guitar simpatico are evident right from the get-go on soul-blues opener I Can’t Let You Go; that's a number, and performance, that could well have come from a Chicago blues club.
CS: Thank you, I really appreciate that; that’s very kind of you to say.
Connor Selby: Yes, I’m really grateful that Provogue decided to take the album on; the fact that I was able to both re-release it and give it a boost with bonus tracks was great.
When you’re an independent artist it’s very hard to give an album that sort of promotion; when I self-released it in 2021, I had really limited resources and little to no knowledge about how to properly release an album. So, in terms of the PR side of things and promotion, it really didn’t get the chance that it deserved.
But Provogue gave it that chance, as well as world-wide distribution, so people in the wider blues market, across the world, have now been able to hear it.
That really means a lot to me and I’m glad that it’s done so well on its re-release.
RM: There’s a highly respectful, old-school feel to the Connor Selby album, in terms of the songs and song-writing, your playing, and your vocality.
Indeed your vocal style is very direct and narrative driven; the lyrical story becomes as clear, and as important, as the music, which nods to the great bluesmen of the past.
CS: Thank you. To a certain extent I think that’s all ingrained in my personality. I appreciate simplicity and directness, in general, in life; that comes across in my style of singing, I think.
But, yeah, it is inspired by all the great artists that I love; people like Ray Charles, Bill Withers, and other singers who may not have the greatest range.
In fact in some respects, and especially with someone like Bill Withers, who was limited in vocal range, those sorts of singers were able to put themselves in the song, and carry the message of the song through their delivery – they were able to get across the emotional aspects of the lyrics, which is something that’s really important to me.
I’m not technically the best singer in the world, and I’ve got a lot of limits to my voice, but in a way that’s kind of been a gift, because I’ve really had to make the most of what I have – working on my phrasing, and delivery.
RM: Blues is such an honest and expressive medium that the storytelling, or lyrical narrative, is an intergral component. But then that’s the same as the notes from a blues guitar; it’s equally important to play notes, or phrase a solo, that complement, or play in sympathy, to the lyric.
CS: One hundred percent. Many of the great blues players, or instrumentalists, will say that they are always trying to emulate the sound of the human voice; I certainly am when I play.
I think, also, it’s nice that there’s a kind of synergy between my guitar playing and my voice; a similar tone, similar phrasing.
RM: That voice and guitar simpatico are evident right from the get-go on soul-blues opener I Can’t Let You Go; that's a number, and performance, that could well have come from a Chicago blues club.
CS: Thank you, I really appreciate that; that’s very kind of you to say.
RM: Your first album Made Up My Mind presents like an eight song introduction to Connor Selby whereas the current release could have been called This is Connor Selby, in terms of who you are as a blues musician and where you want to be headed. Do you think that's fair comment?
CS: I think that’s pretty dead on. Obviously, I was very inexperienced when I made the first album, and didn’t really know what I was doing [laughs]. There’s a lot of things, now, when I listen back, I wish I had done differently, so yeah, you’re right – the self-titled album is a more realised version of what I was trying to do the first time, for sure.
RM: Paralleling that thought, there’s no question your songwriting has improved, both musically and through introspective lyricism. Indeed, you play, and emote, like someone who is twice your age; a young musician with an old-soul, which I hope you take as the compliment it is.
CS: I do, and that's very true! I’ve always had that since I was a kid, around five or six years old; people used to call me an old soul even then!
I’ve always been quite serious, and introspective, which you mentioned; in fact that’s really insightful of you and I appreciate you saying that, so thank you.
RM: Do you think that maturity and introspection ties in to, or comes from, your early years experiences?
I know there was a lot of travelling involved when you were younger.
CS: That’s right, there was. I was born in Essex, but lived in America for a couple of years when I was very young, three to four years old; then we moved back to Essex, where we stayed until I was about ten or eleven. Then we moved again, but this time to Dubai for about four years. We moved back to Essex in 2011, where I’ve been ever since.
It's hard to gauge now, but looking back I think the travelling probably did have an impact, especially when I moved to Dubai, when music became a form of comfort and company, and gave me sense of stability.
I was able to really immerse myself in music at that time.
Now I don’t know if that’s just a coincidence, and would I have still done that if I had stayed in England, but it was certainly around that time, living in Dubai, that I started to really get into music – I’d spend hours and hours, just playing, and listening, trying to learn as much as I could.
And maybe that was because I found it stressful, moving to another new place; but it was definitely a source of comfort.
RM: Was this an all-encompassing listening experience, or was blues very much your muse?
CS: It was! I’ve pretty much had the same tastes in music my whole life, certainly since I was about ten, when I started to really get into music. I’d be at school listening to Robert Johnson and people would say "Oh, what’s that?" I’d say "It’s Robert Johnson, it was recorded back in 1936" or whatever year it was.
Even back then that was my thing! [laughs]
It's obviously expanded over the years but it’s always been based around the blues; blues is the foundation of what I love; it’s been my entire identity ever since.
RM: That love and genuine respect for traditional blues, in all its forms, comes across on the album, from the piano-led gospel blues of Anyhow to a more Nashville sounding song such as The Man I Ought To Be.
This is not just south side Chicago blues influenced music; this is the broader canvas of American roots music.
CS: That’s exactly it; I just love American roots music – blues, gospel, jazz, soul, funk, country and western, folk and, as you said, Nashville – Hear My Prayer is another that’s kinda Nashville sounding.
I’ve immersed myself in all those styles since I got into music, which is why I decided to self-title the album.
It is, as you said, who I am; a picture of my blues, and all the styles I love, together.
That’s why the songs are so diverse – genuine representations of the different aspects of the music I love, but with my sensibilities.
RM: Another aspect of the album – that of your respect for the original form – can be heard via your cover of Percy Mayfield’s My Baby Don’t Dig Me, which tips its funky, R&B hat to to the original Ray Charles version...
CS: I think that’s pretty dead on. Obviously, I was very inexperienced when I made the first album, and didn’t really know what I was doing [laughs]. There’s a lot of things, now, when I listen back, I wish I had done differently, so yeah, you’re right – the self-titled album is a more realised version of what I was trying to do the first time, for sure.
RM: Paralleling that thought, there’s no question your songwriting has improved, both musically and through introspective lyricism. Indeed, you play, and emote, like someone who is twice your age; a young musician with an old-soul, which I hope you take as the compliment it is.
CS: I do, and that's very true! I’ve always had that since I was a kid, around five or six years old; people used to call me an old soul even then!
I’ve always been quite serious, and introspective, which you mentioned; in fact that’s really insightful of you and I appreciate you saying that, so thank you.
RM: Do you think that maturity and introspection ties in to, or comes from, your early years experiences?
I know there was a lot of travelling involved when you were younger.
CS: That’s right, there was. I was born in Essex, but lived in America for a couple of years when I was very young, three to four years old; then we moved back to Essex, where we stayed until I was about ten or eleven. Then we moved again, but this time to Dubai for about four years. We moved back to Essex in 2011, where I’ve been ever since.
It's hard to gauge now, but looking back I think the travelling probably did have an impact, especially when I moved to Dubai, when music became a form of comfort and company, and gave me sense of stability.
I was able to really immerse myself in music at that time.
Now I don’t know if that’s just a coincidence, and would I have still done that if I had stayed in England, but it was certainly around that time, living in Dubai, that I started to really get into music – I’d spend hours and hours, just playing, and listening, trying to learn as much as I could.
And maybe that was because I found it stressful, moving to another new place; but it was definitely a source of comfort.
RM: Was this an all-encompassing listening experience, or was blues very much your muse?
CS: It was! I’ve pretty much had the same tastes in music my whole life, certainly since I was about ten, when I started to really get into music. I’d be at school listening to Robert Johnson and people would say "Oh, what’s that?" I’d say "It’s Robert Johnson, it was recorded back in 1936" or whatever year it was.
Even back then that was my thing! [laughs]
It's obviously expanded over the years but it’s always been based around the blues; blues is the foundation of what I love; it’s been my entire identity ever since.
RM: That love and genuine respect for traditional blues, in all its forms, comes across on the album, from the piano-led gospel blues of Anyhow to a more Nashville sounding song such as The Man I Ought To Be.
This is not just south side Chicago blues influenced music; this is the broader canvas of American roots music.
CS: That’s exactly it; I just love American roots music – blues, gospel, jazz, soul, funk, country and western, folk and, as you said, Nashville – Hear My Prayer is another that’s kinda Nashville sounding.
I’ve immersed myself in all those styles since I got into music, which is why I decided to self-title the album.
It is, as you said, who I am; a picture of my blues, and all the styles I love, together.
That’s why the songs are so diverse – genuine representations of the different aspects of the music I love, but with my sensibilities.
RM: Another aspect of the album – that of your respect for the original form – can be heard via your cover of Percy Mayfield’s My Baby Don’t Dig Me, which tips its funky, R&B hat to to the original Ray Charles version...
CS: My Baby Don't Dig Me is also a great example of a song that not many people would have heard of.
Ray Charles' legacy has been weirdly handled in many ways, certainly ever since his mid-sixties period – there’s a lot of stuff that’s never been re-released on CD, or is very difficult to find.
My Baby Don’t Dig Me was a non-album single from 1964; I think if you asked ten people who like Ray Charles about it, nine of them probably wouldn’t have heard it, or know about it!
I think it’s very important to respect the music that came before you; I also want to be one of those people who points people in the direction of that stuff, and that sort of song.
That’s what it’s about for me really, carrying on the legacy of that music.
RM: Indeed; you’re standing on the shoulder of giants, so respect is due.
And we’ll get a further chance to see and hear you paying such respect this year, as we did throughout 2023, starting with your February dates supporting Joanne Shaw Taylor.
CS: I’m really looking forward to those shows. I did some shows with Joanne at the end of 2022, and really enjoyed the experience; it was nice to be out touring with her and she was really supportive. These new shows with Joanne are going to be great.
RM: You’ve also got a run of full-band dates to follow in March and April, so plenty of opportunities to see you including, I’m delighted to say, a fair few in Scotland.
CS: Yes! I play Glasgow with Joanne as part of her tour then, as part of my own spring tour, I’ll be playing Backstage in Kinross and the Edinburgh Blues Club in March; I'm also playing the Glasgow Blues Rhythm and Rock festival in April.
I’m really looking forward to all those dates.
RM: You’re still promoting the Connor Selby album of course, but once past the tour and scheduled 2024 dates, are you looking toward a follow-up for what will be your third album?
CS: I’m actually preparing for that eventuality now – I’ve been writing new songs and starting to play a few of them at shows. In fact, if I don’t at least get the gears in motion to have another record ready to go this year, although it will be a question for the label really as to when to go ahead with it, I’ll be quite disappointed with myself! But hopefully it will happen.
RM: On the subject of songwriting – do you write solo and/ or have a specific process, such as perhaps pulling an influence from somewhere, which then shapes the sound or style a new song may take?
CS: Generally, it’s me on my own, although there are a couple of songs on the last album co-written with a guy called Joe Anderton. Emily was a co-write with Joe, which has turned out to be a fan favourite.
Joe was also a full-time member of the band until recently, but has stepped away so he can put his own band together; he’s a fantastic singer, songwriter and guitar player.
Other than that I pretty much write on my own, and I don’t really have a process as such – as I’ve touched on before, it’s more a question of being ready when I feel inspired, and being open to ideas when they come along. And I never set out to write a song in a particular style; the songs just kind of manifest themselves.
I don’t have many moments like that, though – I’m not the sort of person who can sit down and just churn songs out, although some people can, and are very good at it.
Like just about everything with me I’m quite slow and methodical about it; sometimes it can happen fairly quickly, but other times it can take six months to a year to finish a song!
RM: Well, given the quality of songs on the last album, long may that non-process continue.
Meanwhile here’s to the upcoming shows helping to spread your name, and the album, to the wider and larger audience both deserve.
CS: Thank you Ross, that means a lot; and I really appreciate the support!
Ross Muir
Muirsical Conversation With Connor Selby
February 2024
Ray Charles' legacy has been weirdly handled in many ways, certainly ever since his mid-sixties period – there’s a lot of stuff that’s never been re-released on CD, or is very difficult to find.
My Baby Don’t Dig Me was a non-album single from 1964; I think if you asked ten people who like Ray Charles about it, nine of them probably wouldn’t have heard it, or know about it!
I think it’s very important to respect the music that came before you; I also want to be one of those people who points people in the direction of that stuff, and that sort of song.
That’s what it’s about for me really, carrying on the legacy of that music.
RM: Indeed; you’re standing on the shoulder of giants, so respect is due.
And we’ll get a further chance to see and hear you paying such respect this year, as we did throughout 2023, starting with your February dates supporting Joanne Shaw Taylor.
CS: I’m really looking forward to those shows. I did some shows with Joanne at the end of 2022, and really enjoyed the experience; it was nice to be out touring with her and she was really supportive. These new shows with Joanne are going to be great.
RM: You’ve also got a run of full-band dates to follow in March and April, so plenty of opportunities to see you including, I’m delighted to say, a fair few in Scotland.
CS: Yes! I play Glasgow with Joanne as part of her tour then, as part of my own spring tour, I’ll be playing Backstage in Kinross and the Edinburgh Blues Club in March; I'm also playing the Glasgow Blues Rhythm and Rock festival in April.
I’m really looking forward to all those dates.
RM: You’re still promoting the Connor Selby album of course, but once past the tour and scheduled 2024 dates, are you looking toward a follow-up for what will be your third album?
CS: I’m actually preparing for that eventuality now – I’ve been writing new songs and starting to play a few of them at shows. In fact, if I don’t at least get the gears in motion to have another record ready to go this year, although it will be a question for the label really as to when to go ahead with it, I’ll be quite disappointed with myself! But hopefully it will happen.
RM: On the subject of songwriting – do you write solo and/ or have a specific process, such as perhaps pulling an influence from somewhere, which then shapes the sound or style a new song may take?
CS: Generally, it’s me on my own, although there are a couple of songs on the last album co-written with a guy called Joe Anderton. Emily was a co-write with Joe, which has turned out to be a fan favourite.
Joe was also a full-time member of the band until recently, but has stepped away so he can put his own band together; he’s a fantastic singer, songwriter and guitar player.
Other than that I pretty much write on my own, and I don’t really have a process as such – as I’ve touched on before, it’s more a question of being ready when I feel inspired, and being open to ideas when they come along. And I never set out to write a song in a particular style; the songs just kind of manifest themselves.
I don’t have many moments like that, though – I’m not the sort of person who can sit down and just churn songs out, although some people can, and are very good at it.
Like just about everything with me I’m quite slow and methodical about it; sometimes it can happen fairly quickly, but other times it can take six months to a year to finish a song!
RM: Well, given the quality of songs on the last album, long may that non-process continue.
Meanwhile here’s to the upcoming shows helping to spread your name, and the album, to the wider and larger audience both deserve.
CS: Thank you Ross, that means a lot; and I really appreciate the support!
Ross Muir
Muirsical Conversation With Connor Selby
February 2024
Connor Selby - on tour with Joanne Shaw Taylor
Feb 14th - Amsterdam, Netherlands, Paradiso
Feb 17th - Manchester, RNCM
Feb 18th - Glasgow, Queen Margaret Union
Feb 19th - Leeds, City Varieties
Feb 21st - Sunderland, The Fire Station
Feb 22nd - London, indigo at The O2
Feb 23rd - Wolverhampton, Wulfrun at The Halls
Feb 25th - Norwich, Waterfront
Feb 26th - Bexhill-on-Sea, De La Warr Pavilion
Feb 28th - Bury St Edmunds, The Apex
Feb 29th - Southend-on-Sea, Palace Theatre
Connor Selby photos by Rob Blackham
Feb 14th - Amsterdam, Netherlands, Paradiso
Feb 17th - Manchester, RNCM
Feb 18th - Glasgow, Queen Margaret Union
Feb 19th - Leeds, City Varieties
Feb 21st - Sunderland, The Fire Station
Feb 22nd - London, indigo at The O2
Feb 23rd - Wolverhampton, Wulfrun at The Halls
Feb 25th - Norwich, Waterfront
Feb 26th - Bexhill-on-Sea, De La Warr Pavilion
Feb 28th - Bury St Edmunds, The Apex
Feb 29th - Southend-on-Sea, Palace Theatre
Connor Selby photos by Rob Blackham