London-based singer-songwriter Andy Smythe channels the Brit-pop genre’s resurgence with a retro sound blending Beatles-esque melodies and Blur’s 90s energy. His Lennon/Bowie-inspired lyrics delve into his inner world, while his versatile musicianship, reminiscent of McCartney, spans piano, guitars, bass, and drums. Andy’s career spans venues like The Borderline and the National Theatre, showcasing his Jeff Buckley-like four-octave voice and virtuosity. Rejecting trends, he prioritizes songcraft, seeking to innovate his signature sound. With passion and perseverance, Andy aims to enchant audiences, nationally and beyond, with his thoughtful and innovative presentations, commitment to sharing his music, and captivating listeners.
Andy Smythe has released an extensive album “Poetry in Exile” with 13 songs.
The opening track “Ghost in the Machine” by Andy Smythe draws you in with its cinematic sound. Layered instrumentation and tension-building melodies create an atmosphere of mystery and intrigue. The retro-influenced horn lines give a nostalgic yet ominous feel, while thick bass and beats lay down a driving rhythmic foundation. Interweaving guitar parts and keyboards explore dark musical themes over this backdrop. The overall mood is haunting and engrossing, evoking images of suspense that would suit a thriller soundtrack.
This jazz-pop fusion number “Out of my Mind” has a way of lifting your spirits with its upbeat yet mellow vibe. Brass instrumentation brings a sense of festivity and joy, with hornlines that evoke celebration. Meanwhile, additional wind parts play with melancholy melodies that provide an emotional depth. Throughout, a steady drum and percussion backdrop keeps the energy flowing. However, it’s the vocal performance that truly stands out, as Andy Smythe showcases his incredible range. Hitting both high and low notes with apparent ease, the vocals take you through a journey of moods and feelings.
With its upbeat, easy-going melody and bopping rhythm, it’s easy to get swept up in the carefree vibe of “Don’t be a Fool.” Coming in as the longest cut on the album at over five minutes, the song impressively maintains interest through skilled instrumentation. Of particular note is the incorporation of harmonica, which takes you on a musical journey as it seamlessly interacts with other elements. Whether carrying the lead melody or adding colorful textures in the background, the harmonica playing proves pivotal in elevating the song to another level.
“Prodigal Son” by Andy Smythe pulls you into a dreamlike state from the outset. The violin plays a simple yet beautiful melancholic melody that sets the tone. Soon after, the vocalist joins in with their emotive delivery, capturing both vulnerability and longing in their performance. Backing voices swirl in the atmosphere, elevating both the emotional weight and ethereal atmosphere of the song. As it progresses, subtle percussion is mixed in, just enough to guide a gentle sway. It proves a showcase of crafting intimacy through understatement, inviting the audience to get lost in the song’s soothing yet poignant headspace.
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Soft piano keys open this track, soon joined by Andy’s passionate vocal delivery. His raw emotion draws you in from the start. Repeating choruses swell with choir-like harmony that serves to boost the anthemic energy. Riffs played throughout provide a supplementary melody that enhances the overall soundscape. Just when it seems the song will remain stripped down, a surprise hits at the two-minute mark – beats suddenly join the mix. This caught me off guard in the best way, taking the song in an exciting new direction. Upon reflection, it seems a perfect musical representation of the changing tides experienced in the lives of students constantly battling rising rents.
“Leaves to Burn” by Andy Smythe is an upbeat indie-pop song is the ideal accompaniment for a scenic drive. Electric guitar riffs weave cheerful melodies throughout, providing rhythm and flair. Meanwhile, retro synths emerge from the mix, transporting you to an earlier era through their bubbly tones and textures. Underpinning it all is a steady percussive beat that keeps the momentum driving forward. Together, these elements create such a feel-good, nostalgic composition.
The album’s title track “Poetry in Exile” sets an upbeat and lively tone right from the start. The accordion leads the way with its energetic melodies and rhythmic flourishes. Layered underneath is a driving beat that keeps the energy high. Into this mix, the guitars weave intricate riffs and textures, painting atmospheric backgrounds for the vocals. Speaking of the vocals, Andy’s passionate delivery is perfectly suited to this cheerful song. His singing rides atop the instrumental arrangements with emotion and charisma. Adding another layer is a layer of background vocals that provide harmonic depth and resonance.
“Power Is a Drug” is an introspective track that stands apart through its thoughtful yet impactful soundscape. Opening with brooding synth tones and prominent basslines, it immediately commands attention. Soon crisp percussion joins to drive the arrangement forward in steady rhythm. Together, these elements create a contemplative atmosphere. However, it’s the chorus discussing freedom that provides the emotional center. Voiced with passion, these moments offer catharsis amongst the otherwise inward-looking sound design.
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“Riverman” by Andy Smythe takes you on a summery acoustic journey with its gentle, winding guitar melodies and upbeat folksy rhythm. Andy’s lush vocals glide effortlessly over the top, his warm tone infusing the dreamy lyrics with joy. The chorus swells with harmonies that lift the spirit. The violin work was a surprise and absolutely magical. Beneath Andy’s romantic imagery of river banks and breezy afternoons flows a subtle ebb and flow, pulling you along without force. It’s the kind of song that sneaks up on you, getting stuck in your head without complaint as you tap your foot and find yourself smiling.
“Raggle Taggle England” takes you on a vivid musical journey. Behind the upbeat, folksy instrumentation lies a complexity that unravels with each listen. The dreamy chorus washed over me with its soaring vocals and joyful percussive beats. Just when I thought I had grasped the song’s sound, the violin work swept in, coloring the melody with new emotion. Throughout the track, layers of instrumentation spin-off in surprising directions before retreating back into the core folk sound. Glimpses of brass, strings, and additional voices sprinkle in and out, keeping me engaged in the song’s unfolding story.
“Judgement Day” by Andy Smythe immediately captures you with a melodic opening. Soaring strings and elegant piano notes create a sense of grandeur yet also fragility. The swelling music tugs at the heartstrings. For the first minute, it builds anticipation for what’s to come. Just past the 1:11 mark, the tone shifts in an unexpected yet delightful way. Where apprehension and longing dominated the introduction, joy now takes hold. Keyboards and drums bring an infectious energy that lifts the spirit. The once solemn sounds transform into an exultant celebration.
What makes this song truly stand out is how seamlessly it journeys between emotions. One moment introspective, the next uplifting.
“No Pasaran” grapples with injustice through a powerful message and emotive performance. From the first crystalline notes, Andy’s passionate vocals command attention, carrying a palpable air of defiance. His delivery soars to impassioned heights against a stark backdrop of minimal instrumentation, allowing his raw talent and conviction to take center stage.
“Everything’s a Bit Broken” by Andy Smythe closes the album on an upbeat yet introspective note. Shimmering synths provide a beautiful backdrop for the singer’s thoughtful lyrics. As the song progresses, layered guitar riffs seamlessly join the mix, enriching the textures. The song gradually swells into an anthemic yet understated number. By the closing end, it leaves you energized yet contemplative. There is joy, yet there is introspection. That is the vibe of the song.
We recently had an opportunity to interview Andy. Let us see what he had to say about his new album and beyond.
1. Hey Andy! Congratulations on your new album “Poetry in Exile.” Truly a masterpiece, I would say. The opening track, “Ghost in the Machine,” sets a cinematic tone with its layered instrumentation and tension-building melodies. Can you tell us about the inspiration behind this haunting atmosphere?
A: I was thinking about the rate of development of AI and how imperceivably it’s altering our lives. Machine Learning is built on the principles of trying to mimic the neural network in the human brain. Hence, we are potentially building an intelligence that will mimic our own. How scary! The song is about trying to warn of the dangers of this, are we going to lose our humanity? I came up with a load of ‘spooky riffs’ on this song! First of all it doesn’t follow a routine blues structure but replaces a B chord with a G and an A with an F# that spooks the listener from ‘the off’! Then we doubled the piano with an organ line, put in some descending strings, and added a synthesizer at the end to mimic the ghost becoming conscious! Then the high spooky voices were added in to give it the ghost busters twist… wanted it to feel like the ghost was lurking in the background the whole time by painting dark undercurrents that were incoherent and unexpected.
2. “Out of my Mind” exudes a blend of jazz-pop fusion that lifts spirits with its upbeat vibe. How do you balance elements of festivity and melancholy in your music, particularly in this track?
A: ‘Out of my Mind’ is a classic mix of a dark lyric and a festive arrangement. I’m hiding a darker message in the song, yes it could be about celebrating getting a ‘new love’ ‘out of your mind’ – the time when you are freshly infatuated with another person, or it could be about trying to get a dark toxic person out of your mind! Those people exist too… The trumpets hit some blues notes in this song and there are several key modulations, the key modulation to Gm in the bridge accentuates the regret in the lyric before we return to a more major tonality again. I guess it’s that classic of using major and minor chords to create different textures and match the lyrics. The Beatles were so good at this.. dropping to a Gm in the key of D is a classic Beatles move!
3. “Leaves to Burn” is an ideal accompaniment for a scenic drive with its upbeat indie-pop vibe. Can you share any personal experiences or inspirations behind the creation of this feel-good composition?
A: ‘Leaves to Burn’ is a song about the rural ideal. I imagined a man who has nothing left but the solace of the seasons and for him that’s enough. He remembers the few moments of bliss in his life, but his ‘sense of worth’ comes through his connection with Mother Nature. The imagining involved revisiting characters from my childhood that I met in the 1980s when much farming was still only partly mechanized, and there still existed the profession of a ‘rural laborer.’ I spent many happy summers and springs labouring on farms in the heart of England and I met many such people, their souls have probably now been long lost to the wind and rain sweeping over the English and Welsh hills.
4. “Power Is a Drug” stands out with its introspective soundscape and emotional depth. Can you delve into the themes explored in this track and how they resonate with you personally?
A: Power is a Drug is a song about how ‘power over other humans’ is a dangerous thing, we were all created equal after all… I wrote it after Russia’s invasion of Ukraine and the figure of Putin looms large. Putin is the ‘iron fist of hate’, the drones tearing through the sky ‘shards of metal tears’. However, I too have been on the receiving end of poor decisions from powerful people, I personally mistrust such people, it’s always the way that they are surrounded by sychophants who tell them ‘what they want to hear’, they are addicted to the drug of power and how they can manipulate others. All major political roles in public office should have restricted shelf-lives so that people can stay objective and avoid being corrupted by power… it’s not a good thing!
5. Music can be a very personal form of expression. If you had to pick one song from the album that holds special significance, whether because of the creative process behind it, the songwriting journey, or just a deep personal connection to the lyrics or artist, which one would you highlight and why?
A: ‘Prodigal Son’ has a beautiful lyric that I’m very proud of… I spent much of my 20’s traveling the world. I would just head out with a rucksack and guitar and meet new people. I went to the USA, Australia, India, Africa and Europe… You always return with fresh perspectives on what the really important things in life are. One lyric in there is ‘sacred spaces in the brain monks and mountains fall like rain’, that’s inspired by a backpacking trip to Dhramasalar in India, my bus broke down and I had to walk 10 miles in the cold and the rain in a teeshirt and denim jacket feeling worry for myself, whilst the Tibetan monks just strolled up in bare feet laughing, the happiest people I ever met and they had no worldly possessions. I loved breathing life into this song, the string arrangement by Chris Payne is magical.
6. Were there any experiences making this album through working with other performers/songwriters that you found especially inspiring or you learned something new from?
A: I love the string arrangement by Chris Payne on ‘Riverman’ too. He paints pictures with sound and he creates dissonances which enhance the lyrics. the song is about the dichotomy of how talented creative people are often introverted and how peversely it then becomes difficult for them to sell their art as we live in a world where we’re told that the ‘extrovert, popular’ person is the ideal. The extra notes that Chris adds, tug at the harmony and gives the track its emotional cutting edge. I think that in all of the songs that I arranged myself and played all of the instruments such as ‘Ghost in the Machine’ and ‘Leaves to Burn’ that I drew on this idea of painting pictures with the sound, textures that embellish the lyrics and help tell their stories.
7. Rejecting trends in favor of prioritizing songcraft is a bold choice. How do you stay true to your artistic vision while navigating the ever-changing landscape of the music industry?
A: My artistic vision is to follow my ’emotional sense’, I write songs about my experiences in everyday life that help me to make sense out of my human existence. My music is a huge part of my existence when I perform my heart and soul breathe together and I’m fortunate to perform with other musicians who have this coarsing through their veins too. So performing is an almost religious experience of what it feels like to be human. Life is about recreating yourself in your environment to thrive and love and leave the world a better place. My artistic vision is to always stay true to this, I think that the key to success is making truly great art. I hope that people will listen to ‘Poetry in Exile’ and regard it as an interesting, compelling and ambitious project. I hope and trust that if something is good enough that people will listen… so I seek to remain true to myself and adapt to the marketing side of the music industry without abandoning my core principles.
8. With ‘Poetry in Exile’ released, what’s next for Andy Smythe? Are there any upcoming projects or collaborations that your fans can look forward to?
A: I have been writing again and have a few songs ‘on the go’. I’m looking forward to continuing to work with the friends I’ve made with Poetry in Exile – Bea Limonti (violin), Jimmy Van Lin (mandolin and violin) and Chris Payne (strings). I’m bringing them all together for one gig at Shrewsbury House in Greenwich shortly on May 24th to celebrate the album in an evening of sonic splendor! I am going to be releasing music on a very regular basis and am looking to iterate and write even better material. The challenge is to write and record an all-time classic song that can change my life and the life of many others in a positive way. That’s the dream!
To be a part of Andy Smythe’s musical journey, you can follow him on: Instagram and Twitter
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