Interview – DAAY

DAAY is a jazz-fusion artist with a diverse musical palate. I loved their latest release, Golden Tree, so decided to have a chat to find out more. See how I got on below!

By Jane Howkins

You recently released a track titled Golden Tree, which we reviewed. What can you tell us about the song?

The song is the last in a trilogy about the awakening of consciousness, from waking up from a dream, stepping through forever and lastly, as expressed in this song, to taking form as a tree of consciousness.

Has the pandemic hindered your work much?

It completely flipped everything on it’s head. DAAY now has a new line-up. I have a completely fresh outlook for performing which took the pandemic to coax it out of me. Luckily, over the course of the first lockdown I spent a lot of time in Cambridge in lush grass by birds and trees thinking about who I am and what I want, which was a complete blessing. So the pandemic really was the galvaniser I needed for which I am grateful for.

What is the writing and recording process like for you?

At the moment I write all my songs on an acoustic guitar or keys, as chord progressions with no lyrics. There is always an obscure but very real feeling about the song which I capture and develop, this feeling will turn into the mood and poetry behind it. I usually record with Nathan Ridley at Hermitage Works Studios which has been an invaluable learning experience, we tease out the value in the demo track together and this has been an incredibly useful tool to learn.

Do you plan to release any more singles in the near future?

Yes, I am working with our drummer Rhys Maslen on a new single called Flight which we’re hoping to be ready by the end of April/May. We have lots more singles planned for this year.

Have you started writing for an EP or an album?

No, but I’d like to be in a position at the end of the year where this is something that we’re seriously considering.

What/who influences you most as artists? What have you been listening to recently?

The greatest influences are usually the artists that innovate and excite in ways that build on ideas, but also artists whose craft and artistry speaks to me, that I can identify and feel familiarity with. For instance John Grant or Ariel Pink are artists that never fail to intrigue me and provide a constant source of inspiration. I can’t not mention Julian Casablancas’ project The Voidz as they are always delightful, and then I’m always partial to a Sunday morning session staring out the window to Allan Hull or Robert Wyatt.

Where are you based? What is the music scene like in your part of the world?

We are based in London. The scene is pretty quiet and it’s hard to get anyone interested in new music or exciting culture. That being said I do have faith that sarcasm can shine through digital text and reveal that we are never short of a opportunity as we are lucky to know so many amazing and hard working people on the scene who love new and live music. It also helps to put on your own event if there’s enough hours in the day to organise it, we have our own called Al’s Waiting Room, which is my own creation – at some point we’ll crack open another can but I couldn’t say when.

Do you have any tour dates lined up?

We have dates coming up at 93 Feet East, Cavendish Arms and The Fiddler, so keep your eyes peeled. We are performing at the Wolfson College May Ball 2022 at 01:00am to a hopefully welcoming Cambridge crowd, and are looking at a potential festival date in September for an amazing event that has a special place in my heart.

What can people expect from one of your shows and why should people come and see you perform live?

Our shows are about communicating the very essence of why I wrote the song. From the very first time I stared out the window to let it in, along the corridoors of notebooks of endless lyric writing, and to the final delivery, whether on the stage or in the studio.

The live experience is the heart of the DAAY band and I constantly strive to create new ways for the spectacle to be accurate and hard-hitting in it’s delivery. Musically, I have so much to say and I’m very glad when we are offered 45+ minute sets. I like incorporating visuals, lights, weird outfits, weird sounds, percussion of various forms, trancy beats and occasional shouting.

Any last words for the fans?

If you like what we do, please don’t feel shy to let us know. Thanks.