Christopher Hawkins is an artist based in Sheffield, producing unique cinematic pieces of music that incorporates moments of both the jazz and classical genres into his music. Christopher has just released an amazing new record, Where The World Can’t Find You, and it really is a beautiful thing to behold. Naturally, with Christopher hailing from our very own county of Yorkshire, I leapt at the opportunity to have a chat with him!
By Jane Howkins
You’ve just released a new album titled Where The World Can’t Find You. What can you tell us about the record and how has the reception been so far?
The record is essentially a sonic hiding place. It’s an exploration of finding quiet spaces, isolation and inner peace, away from the noise of the modern world. I wanted to build an atmosphere where listeners could completely detach and get lost for an hour.
Visually, that mood is captured perfectly by the album cover, which features the amazing artwork of award-winning Sheffield artist Mandy Payne. Her incredible piece sets the tone before you even hit play. The reception so far has been incredibly heartwarming – especially when hearing from people who use the music and the imagery to unwind, decompress or create their own mental space. This is exactly what I hoped for when composing these songs.
It’s your first album release since 2023’s Painted By The Sun. How has your songwriting progressed from then
A major structural shift happened right after that album. Later in 2023, I launched a project called North Machine and released the album No-One Talks. It was an intense electronic-rock collective where I got to collaborate with rock legend Wayne Hussey of The Mission and Sisters of Mercy.
That whole sound was heavily inspired by the angular, geometric lines of Sheffield’s brutalist Park Hill estate, even using field recordings of the trains from the station down below it to ground the industrial atmosphere. Moving from the heavy, raw electronic-rock textures of North Machine back into my solo work naturally made my songwriting more adventurous.
Where The World Can’t Find You carries a deeper sense of space and structural contrast because of that detour.
Where The World Can’t Find You is an instrumental record. Would you ever consider incorporating vocals into your music, or is it not the right fit?
I’m completely open to it, and having Wayne Hussey and Jody Davis (Fargo Railroad Co.) on the North Machine record proved to me how powerful the right voice can be when layered over my songs. However, for my solo work, instrumental music feels like the perfect fit because it leaves the narrative entirely open to the listener. Without lyrics dictating a specific story, the music becomes a blank canvas for whatever the person listening needs to feel in that exact moment.
I’ve noticed you haven’t released any singles from any of your previous records as of yet. What’s the reasoning behind this?
My projects usually revolve around a central concept, overarching theme or mood. Because of that, I’ve always preferred the music to be shared in context as a whole, coherent body of work, rather than fragmented pieces. I want people to sit down with the album as a full experience.
Are there any plans to buck that trend and release any singles from Where The World Can’t Find You in the near future?
I’m definitely not against releasing singles! Sharing music more frequently is a fantastic way to connect with listeners in the digital age, and it’s a strategy I’ll likely experiment with in the future. But for Where The World Can’t Find You, the tracks belong together, so I wanted the whole statement out there at once.
Your music is quite unique, mixing moments of jazz and classical together. What/who would you say are your main musical influences as an artist?
I love blurring the boundaries of genres, though I’d say the mix goes a bit wider by blending contemporary classical music with electronic textures and rock sensibilities too. Honestly, my main influence is the landscape of Sheffield itself. It’s a city defined by its contrasts: a gritty, sprawling urban environment that is suddenly swallowed up by beautiful, sweeping countryside and rolling hills. It’s a historic city of makers that once thrived on heavy industry and constantly re-invents itself, while remaining incredibly inclusive. My music tries to mirror that exact ecosystem – the organic meeting the industrial, the delicate meeting the heavy.
Do you have any other musical side projects or side hustles on the go at the moment?
Yes! I’m currently writing an upcoming album where I’m attempting to translate the raw emotion of looking at abstract art into sound frequencies. It’s heavily inspired by iconic visual artists like Mark Rothko, Agnes Martin and Sheffield’s own legendary non-figurative painter, John Hoyland. I’ve actually just been invited to visit the studio in London where John used to work before he passed away, which I am incredibly excited about. Capturing visual depth through sound is a really fascinating creative puzzle.
You’re based in Sheffield near us! What is the local music scene like in the area and are there any local artists/venues you can recommend our readers check out?
The Sheffield scene is absolutely brilliant – it’s intensely lively, incredibly supportive and built on a staggering musical history. For venues, Sidney & Matilda is fantastic for raw, grassroots energy, and Yellow Arch Studios will always be close to my heart because that’s where I launched my very first album.
Last year, I caught a deeply emotional Richard Hawley gig at The Leadmill, which reminded me exactly why these historic independent spaces are sacred. As for local artists, everyone needs to check out an upcoming band called Telly Eaters. They are creating a massive buzz locally right now, and I saw them play a wild, fantastic set at May Street Live recently.
Do you ever tour? If so, what can your fans expect from one of your gigs? Do you have any UK tour dates lined up at all?
I’ve done a fair bit of touring over the years with various live bands. A particular high point was playing a set at Manchester Pride to a massive, sea-of-people crowd – the energy was completely exhilarating and pure fun.
These days, because of family commitments, my focus has shifted towards studio work. I do the vast majority of my composing and recording from home now, so there are no live dates lined up immediately. That said, I’ve been incredibly fortunate to have strong support from Classic FM and BBC Radio over the last few years. It’s been an intensely rewarding way to share my music widely and connect with people all over the country without having to live out of a tour van.
Any last words for the fans?
Growing up in a city like Sheffield, you see how music bridges communities and brings entirely different people together. Music is a genuine force for good that ignores boundaries. I hope Where The World Can’t Find You acts as a shared sanctuary for people, no matter where they are tuning in from.
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