18 MusicWeek 15.06.12 INTERVIEWAMYMACDONALD
“I think record companies should employ somebody that sits down with their new acts and says: ‘This is what’s going to happen,’ because you don’t have a clue and you don’t really know how anything works. You’re just kind of thrown into it and expected to get used to it” AMY MACDONALD
Is that your ‘petrol head’ song? I wrote just after I was driving one day. I came home, I felt inspired and that’s the song that came out. I attribute it to being out driving, but thinking back now probably in my subconscious it was more about actually taking a break and taking a year for myself and not feeling like you have to be in everyone’s faces all the time. It’s fine to disappear and have your own little life and come back.
There are lots of different song themes and moods on the album – what’s your favourite? I get inspiration from everywhere; I don’t think I could ever write about one thing. I love watching the world go by and taking different things in, that’s really inspiring to me. For the album, I’m just really proud of it and
happy with how everything sounds. I like that there’s so many different songs and themes, it means there’s variety and something for everyone. It always changes but I think my favourite song is
The Fourth of July, there’s something about it. I wanted it to be the album opener and no one else wanted it. Everyone said: “No, the single should open the album,” and I was like: “No, I’m standing my ground on this one.” I’m glad that I did that because I think it sets the tone perfectly.
When you write, do you ever consciously think of sync opportunities? I don’t, but I think I’m very lucky that these songs finish and they’re quite catchy and they could [be synched]. I was with my publisher [Warner/Chappell] recently and they were buzzing, saying “We’re going to be able to sync these songs everywhere, it’s great!” Fingers crossed!
You’ve said that you’ve grown into your voice and you’ve now got a ‘crazy range’ – is that something you’ve been practising or something that’s developed on its own? It’s not something that I’ve consciously been trying to do but I’ve been gigging since 2006 and with the amount of touring I’ve done since then, I’ve been constantly on the road, always singing, and I think I’ve got a lot of practice in from that. I’ve sung in lots of settings – from half-empty
little pubs then slowly moved up. I sang the National Anthem in front of 50,000 people at Hampden Park – that was one of my big ambitions and I’m very lucky that I get to do that now. So, I think I’ve sang in every location and I’ve got a lot of practice in for the different scenarios.
You’ve had phenomenal success across many European countries outside the UK – what do you think it is that these audiences respond to? From what I’ve been told from people in Switzerland and Germany, they like that I’m authentic, they can relate to what I’m singing and when they look at me I don’t
RIGHT Amy aiming high: Album Life In A Beautiful Light was released earlier this week and lead single Slow It Down was released in April
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seem like some sort of superstar they’ll never have contact with. People have said to me that they feel like they know me, that I’m not on a pedestal away from them and that I can kind of relate to them a bit. I have such amazing support over Europe when
loads of people don’t get that, so I’m really grateful for it and it’s brilliant to be able to tour all these places and see so many cities.
Can you see the obvious differences in your international audiences? You can. People are different wherever you go but I’m very lucky - I always have a really enthusiastic audience. In Europe especially it’s such a mixture there can be little girls at the front then older men at the back and just a mixture of everyone in between. It’s really cool that [the music] can appeal to so many.
I love the story that you got your break with your producer Pete [Wilkinson] by submitting a demo via NME… Pete’s also my manager now as well. I’d just been making demos at home and I was reading NME. There was an advert that Pete and [co-manager] Sarah had placed in it – they were starting a production company - they were songwriters originally and they’d done a few bits Paolo Nutini. Their idea was, “We’ll get a great singer in and
then we’ll write the songs.” But then I sent them a demo and I wrote all my own songs so that was that idea out the window... Then I signed a production deal with them. Pete and I made loads of demos in his little home
studio. At the time they had Jane Rees who used to work at Warner/Chappell as a publisher. She came around for a meeting one day and I was there because I was recording demos. Pete said “Do you want to sing for Jane?” So I sang her a song and she was like, “That’s just brilliant.” We gave her the demos but Pete warned her: “We’re not ready to go, so don’t let anybody hear this.” The next week she’d let the Warner Bros. label hear it and we were like, “Oh God”’ So Pete and I spent a couple of weeks racing around London meeting everyone. Through that we eventually signed to Mercury. After that I was told I needed a
manager. I’d done everything with Pete and Sarah. When I came to London I’d come and stay with them, which was great from my mum’s point of view... I was
like: “Can youse two not be my manager?” and they were like” “We don’t know what we’re doing!” I said “Who cares?” They’ve done the job so brilliantly and I just feel
so lucky. It’s just good people. Before anything they’re two of my closest friends and we always have a laugh. It’s good to know that they two, first and
foremost, care about me and it’s not about anything else. It feels like we have such a great relationship.
Do you think people should try a similar old- school route if they’re trying to get a deal? I think so. At the time I hadn’t even thought anything of it. Now I think about it, if I’d have not bought that magazine, I’d not even be sitting here right now. It just seems so perfect, totally fate, everything aligned for this to happen. I’m so grateful because out of everything, all the success and releasing music, the best part has been meeting Pete and Sarah because I know that they will be my friends for life now.
Apart from Pete and Sarah who are the best record execs you’ve ever worked with in your six years in the industry? I’ve always been with Mercury and it was Paul Adam and Jason Iley who signed me. They’ve been brilliant to me, I couldn’t have asked for anyone better. The great thing was, when Pete and I were racing around London, we had offers from loads of labels and that’s who we picked. And I know that I’ve made the right decision. Everyone that works at Mercury is so easy to get
on with and so down to earth and chilled but they’re also good at what they do so I feel very lucky to be there.
As someone who started out young in the industry what advice would you give to up and coming artists? Just be prepared for everything because it is a bit manic. The only thing I hated at the beginning… I think record companies should employ somebody that sits down with their new acts and says: “This is what’s going to happen”, because you don’t have a clue and you don’t really know how anything works. You’re just kind of thrown into it and expected to get used to it. You do get used to it really quickly and now I’m
on the third album, I know the drill. Just be prepared because it can be quite tough. Just stick there, try your best and hopefully everything goes good – that’s all you can do.
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