Fatherson are an ‘Open Book’ at The Borderline

Fatherson are heading out on their biggest UK tour to date in support of their new album, ‘Open Book’.

The follow up to their self-released 2014 debut, ‘I Am An Island’, is out on 3 June 2016 and the Scottish trio are spreading the word out on the road for most of February. That includes a stop at The Borderline in London on 23 February 2016.

Tickets are available now.

Friends since the age of seven or eight, Ross Leighton (guitar/vocals), Marc Strain (bass), and Greg Walkinshaw (drums) have spent much of the past two years playing with the likes of Idlewild, Frightened Rabbit, Prides, and Twin Atlantic as well as performing at festivals including T in the Park, SXSW, and The Great Escape.

But the focus of the last 12 months has been ‘Open Book’.

“I’ve got 600 voice memos on my phone,” says Leighton of his songwriting process. “I sit down with a guitar for 10 minutes and just vomit everything out. And then I listen to it and realise how depressing it is and try and make it a bit happier,” he grins.

 Some of the songs recorded at Wales’ Rockfield Studios with Twin Atlantic collaborator Bruce Rintoul, are already cornerstones of Fatherson’s live set. Like ‘Just Past The Point Of Breaking’ with its “singalong chorus, weird verses, middle-eight that’s just a bit topsy-turvey, and a big chorus at the end”, as Leighton puts it. And ‘Always’, which was released as single to coincide with the band’s autumn UK tour with Prides.

‘Forest’ (with its fan-baiting chorus: “Can you hear me calling in the forest? Can you hear me screaming my lungs out? You know that I’m here for you.”) and the ballad ‘Younger Days’ have also made an impact at live shows.

“I’d watched [Ray Charles biopic] ‘Ray’ and I was inspired to write that on the piano,” says Leighton. “But in fact a lot of this record was written on the piano, then moved on to other instruments. I’ve never done that before.”

As a whole, the 12-track album shows band’s growth and maturity as songwriters and performers.

“’Open Book’ takes you on a few twists and turns, and ends up somewhere fragile and simple and plain,” concludes Leighton.


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