Leo Duncan, who shares lead singer-songwriter duties with Ben Moorhouse of Ten Fé, spoke to us about the recording of their second album, the evolution of their sound, and positivity in the face of increasingly declining physical record sales.
It’s obvious when you speak to a musician that music goes beyond their occupation, or satisfying self indulgence of project ‘cool’. As Keith Richards once said: “Music is a language that doesn’t speak in particular words. It speaks in emotions, and if it’s in the bones, it’s in the bones.” Discussing the bands origins almost feels an insult in the face of Ten Fé, who clearly have music in their “bones”.
The band wear hearts, not pride, on their sleeves. The follow up to their ‘Hit The Light’ debut, ‘Future Perfect, Present Tense’, that coincides it’s release (March 8 via Some Kinda Love) with a second American tour, certainly cements how they have really come into their own both personally, and musically.
Originally starting out as a busking duo, Duncan and Moorhouse naturally gravitated towards a five-piece to include childhood mates from Birmingham. And it’s on this second record that you will notice how they have really honed into their sound, doing away with the electronics stylistically, and recording the album mostly live as a five-piece band. Subsequently, the material is more raw and honest and was a reaction to the reception when touring their debut album. “Being honest as performers and the more we’ve cut down on, the backing track, the PA, the electronics, I feel the easier it’s got. And on this album, everyone is playing their instruments, we’ve harnessed raw energy – there’s a real magic passing from one another.”
The first album was not only recorded as a duo, with both Duncan and Moorhouse alternating instruments in the Berlin studio with Ewan Pearson (The Rapture, M83, Jagwar Ma) but had electronic leanings and 90s influence (Primal Scream, Happy Mondays). ‘Future Perfect, Present Tense’ ramps up the Americana elements coming through on the last record; Bruce Springsteen, Fleetwood Mac and The War On Drugs. “Our listening became more concentrated and particularly The War on Drugs – but also Fleetwood Mac’s ‘Rumours’, R.E.M’s ‘Automatic For The People’ – we kept it pretty tight, it wasn’t a conscious thing, it’s just what we were listening to at the time. Obviously our beloved Stones and Beatles too and a touch of The Lighting Seeds at the end.”
Lyrically speaking, poetry retains a large component and privilege as the listener, almost as though the material wasn’t meant for prying ears. “In terms of this album, the lyrics are deeper, there’s less word play and wit in the lyric. It’s more concentrated on being honest – on speaking and not wanting to shout, there’s a softness to the lyrics.”
People may be keen to associate them with their hard grafting roots; London buskers on the District Line at 5:30pm, but it’s coming through that is more significant. Music is expression, an art that Duncan says they are fortunate to have avoided the down trodden routes for, and having been a musician over in Dublin, Ireland for a year in his early twenties this was where he learnt how to hold an audience.
When Duncan shares with me his stories of working over in Dublin, there’s an underling and unflinching self confidence to his worth as a performer that I cannot help but admire. “I would play lots of pretty tough pubs along East Wall and on the Northside, where I lived saying, ‘Listen do you mind if I play for you tonight, I’ll play for free, if you give me drinks all evening?’ ‘Right, well, we’ll put you in front of the TV and the football is on at the moment, but if you can distract the people from the football then we’ll let you have the gig.” And I loved that, because you know, if you can make people turn their attention from the football onto you, then you know you are onto something.”
It wasn’t just learning how to hold an audience, but the Irish culture and attitude towards music in turn, took a hold on Duncan: “There’s a very interesting attitude to music in Ireland, you know, there’s a very inclusive attitude to performance – if someone has a guitar, they’re expected to play, and that’s just the given.”
Ireland’s very different, inclusive attitude towards music is the mentality that continues to drive the band forward and is taking them places. Inclusivity is pivotal to their music. “In London the attitude is a stark contrast – if you have a guitar then you have to perform – it’s not an intimate or inclusive thing, because there’s so many people striving to do the same thing, it’s a lot harder. I’ve always connected more to the Irish ways. It happens in Birmingham too – it’s not about networking or showing off, everyone can enjoy these songs, that’s my mission. It’s got very clear roots for me with Birmingham and Dublin.”
While their attitude towards music is rooted in Ireland, they have a greater kinship with American music stylistically. “America is such an important place for us musically. Kurt Vile, War on Drugs, Mac De Marco, Twin Peaks, Whitney is the music that inspires us – when we get up in the mornings, that’s what we put on. Not British bands, apart from Idles and solo acts – I’m excited by Westerman and King Krule, but in terms of bands, America is where it’s at right now”.
When questioning his thoughts on the British music industry, Duncan is positively optimistic about the future of not only the industry itself, but the band’s ambition to sustain a positive headspace. “Yeah, I’m not gonna lie, it’s a struggle sometimes – but if you surround yourself with good people, its always positive. Not just between us as a band, but our management and label are our best mates and they’re always there to support us.”
“You really have to go for it as it’s so competitive right now, but at the same time, the quality of music isn’t dampening, people are making just as good of music as ever, and the people listening aren’t going deaf, shows are being attended and playing shows are as good as it’s ever been.”
Over the phone this afternoon, it seems only topical to bring into conversation todays closure of HMV. I question insofar how Spotify is helping bands, which Duncan enlightens me, helped fund Ten Fé’s last tour of America. “Things are changing, yes, HMV shut down but when was the last time you bought something in there? (Very true). Lets work out the next way to ingest music – people don’t pay for music now, that’s just the reality – that’s had an enormous impact thing on music – the way to get around it is not to think about it too much. Make sure you’re singing songs you believe in and work with a team you believe and trust.”
There is no room to feel precious on the District Line, you have to hold your own, on a stage of your own making, there’s no gap between the audience and artist. So when it comes to their shows, that are growing in size, the last was in support of Adam Ant at Camden’s Roundhouse, it’s rewarding to see how deep their music is connecting with people.
When I question Ten Fe’s proudest moment to date, Duncan modestly responds. “I always try and avoid feeling proud, maybe its the Irish in me, but I’m always really happy when we finish a recording – finishing this album was the best feeling, it wasn’t easy to make either. When you play in a band, this might sound cheesy, I don’t care if it does – but if you have a connection when you’re playing with someone overtime you play, and we do, it feels wicked. There’s also a point where it feels amazing. We’ve all known each other for over 10 years and have a deep connection with one another so yeah it’s like being in a pub with your best mates and you’re drinking and you have this moment when you think “ahhh this is f***ing wicked” it only last five seconds when you’re in a pub at Christmas – or you’re at a gig and there’s a point where you just feel it. That’s why I know we’re on the right track – that’s all the Beatles had and that’s what the War On Drugs have, a chemistry on record.”
Chemistry is something you cannot forge, and just like music, you either have it “in the bones” or you don’t, and as more people are noticing, Ten Fé are gifted with both.
‘Future Perfect, Present Tense’ is released March 8 via Some Kinda Love Records
Words: Rachael Crabtree (@eccentric_eejit)