Out of the Blue

By Trevor J. Adams

Halifaxmag.com

Thom Swift knew his musical career was changing when he won the “Galaxie Rising Star” prize. The Canadian music award typically goes to artists decades his junior.

“Yeah, I’m sure I got some funny looks,” he laughs, “but I was really in an entirely new phase, going solo for the first time, and it was a reflection of that.”

Recently, Swift sat down with Halifax Magazine to talk about the new trajectory his career has taken.

Swift earned his musical chops over years of playing with the Hot Toddy Trio, a longtime staple of Halifax’s pub scene, known for their diverse musical range. He broke out on his own with his indie album Into the Dirt in 2007. The acclaim was immediate. “Swift dives into the project with dark, brooding, pop-inflected tunes that sit atop rich, multi-textured arrangements, elevating each composition beyond anything seen as fleeting,” enthused Blues Revue, an American magazine.

“Swift’s vocals move well forward in this effort, proving himself a formidable vocal talent capable of commanding a stage.”
Swift feels he’s in a good place both professionally and personally. He now works with Ground Swell Music, helmed by Ian McKinnon of Rawlin’s Cross fame; his partner Wendy Phillips handles his media relations. He’s dealing with people he trusts, his friends, and it shows in his work. “His solo career is in its infancy but he’s already done so much,” McKinnon says. “This new record has Juno potential. It’s so rich and diverse-he’s such a musician.”

Often pigeonholed as a bluesman, Swift isn’t really that easy to categorize. His musical styles run the gamut. And while many artists struggle to find their niche, he’s embraced his musical diversity with his new album Blue Sky Day.

He recorded the album with his pals in El Camino, and was joined by talents like J.P. Cormier and Matt Anderson. Swift sounds a bit blasee about the album but his satisfaction with his work is obvious.

Your launch was at Atlantic House in Vancouver during the Winter Olympics. What was it like to be in the middle of all of that?

I was in Vancouver when it launched. But really, and I don’t mean any offence to either place, I could just as well have been in Stewiacke. I never saw any of the Olympics. I was in the venue pretty well the entire time I was there.

There was probably more of a buzz to the city than you typically get in Stewiacke, though.

[Laughs] Yeah, there was-there was an energy and a vibe to the city. The whole world was there and I could kind of feel that even if I didn’t actually see it.

What sort of reception is the new album getting?

Doing an album takes over your life. By the time you leave the studio, you’re totally done with it. I just wanted to make a good album and keep moving forward. Everything’s going well. People have warmed up to the album. It jumps all over a lot of genres and it’s been embraced by all of them. It’s been a really positive experience.

Which tracks stand out for you?

I’m really happy with everything from the album. It all seems to work. “Killer” is doing well and getting a lot of airtime on rock stations. That’s a big surprise for me, because I really haven’t been involved in the rock world before. The folk world has embraced the album too. And “Seafoam” is popular in the Celtic world.

The American roots classic ‘No Depression in Heaven’ seems kind of incongruous at first…

I was originally put onto “No Depression in Heaven” when someone suggested I perform it at the Music for Troubled Times concert at the Cohn a while back. It’s an old Carter Family tune and I wasn’t sure what I could do with it, but I was raised in a Baptist church, so I thought about those sensibilities. I slowed it down and made it into a hymn. It seems to work.

“A lot of artists create this artificial bubble around them but I need to be with people who know me, people I can trust.”
-Thom Swift

Did you set out to write an eclectic album or did it just evolve that way?

Musically, I can get along with anybody. It goes back to my days with the Hot Toddy Trio. That group was all over the place-we really made a decision to play whatever we liked and not be constrained by genres or labels. That’s stuck with me and that’s how I write today. I just write the songs I want and don’t worry about trying to squeeze them into a specific genre. That’s how I’m comfortable.

Who inspires you, musically?

I like Emmylou Harris, Bill Frissell and of course Miles [Davis]-and a lot of others, probably too many to name. Artists who are real-no smoke and mirrors. That’s how I try to live my life and that’s the kind of music that speaks to me. I’m affected by what I see and hear in the world around me. That’s where I draw my creativity.

After so many years playing with Hot Toddy, how has the transition been to a solo career?

I’ve been around this business for a long time but going solo is a fairly new thing. As artists, you’re always developing. You have to keep it real and learn your trade. There have been a lot of adjustments. I spent years paying my dues playing in bars and places like that. It used to be scary to play in a larger place like a theatre but I’ve become more comfortable with it.

You’re in a business where egos can run amok-how do you avoid that?

I worked with high-risk kids for years and learned a lot through that. I also had a very open-minded grandfather, a very compassionate and giving man. When I was young, he taught me to open my heart. I’m 49 and I wasn’t always like this. A lot happens over the course of a life. I like to write about my family-Wendy and the two girls and a little boy we have at home. A lot of artists create this artificial bubble around them but I need to be with people who know me, people I can trust… [I've] been able to push a lot of nonsense out of my path. I just want to be a good person. And make good music.

Playing with a band like El Camino must help with that…

I’ve known the guys in the band for more than 20 years. They’re dear friends and they happen to be the best at what they do, so it was a no-brainer to work with them. You can always find great players but something magical happens when you have that personal connection.

What about your behind-the-scenes team?

I wouldn’t be able to do this without Wendy and Ian doing what they’re doing. We believe in each other, which makes for a good situation. Everyone gets it. From the get-go, it all just worked really well. I don’t think I could have foreseen all the great support I’m getting. There was a time I had to do it all myself. It’s nice to be able to trust other people to handle some of the business side so I can focus on making music.

What’s next?

I’m playing a bunch of festivals and house concerts over the summer. They’re still working out the details but I can tell you, I won’t be anything but busy.

Article Source: http://halifaxmag.com/2010/05/cover/out-of-the-blue/