December 26, 2024 • 31 mins
Ellis Jones from Sheffield takes us on an emotional journey through the years, from strumming his first guitar at the age of five to forming Trust Fund in 2010. His story unfolds with tales of childhood bands and teenage recording sessions, eventually leading to Trust Fund's recognition in the mid-2010s. Ellis opens up about his creative process and the influence of Bandcamp during the height of his musical releases, offering heartfelt insights into how evolving personal interests have always been at the heart of Trust Fund's unique sound.
A new chapter in music-making begins in Bristol, where shifting priorities in our mid-30s have shaped a practical and heartfelt duo with my partner and bandmate, CD. We find inspiration in lyrical ideas that give birth to melodies, exploring how those creative sparks evoke emotional responses both for us as creators and for our audience. Balancing the quest for perfection with the permanence of music releases becomes a shared challenge, as we navigate the repetitive yet rewarding process of mixing and finalizing tracks.
The pandemic years have brought about a surprising transformation for many artists, including one musician who traded electric for classical guitar, crafting an introspective and courageous new record. The themes shift to a more observant tone, with raw, voice-and-guitar compositions that leave nowhere to hide. As the narrative unfolds, we confront the challenge of staying emotionally connected amidst professional demands, reflecting on personal milestones and relationships that might blur into the background. Join us for an episode that encourages reflection on balancing life's demands with heartfelt connections.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:11):
Doctor, I've been pondering over which ailment to
bring you.
If I'm only allowed to bringyou one, if I'm only allowed to
bring you one, then I bring untoyou my heart, shrouded in the
(00:31):
dark, fletching wildly far fromthe mark Trust Fund.
Speaker 2 (00:39):
I have Ellis Jones here with me today from
Sheffield.
Right, you're in Sheffield,aren't you?
That's where I live, yeah, cool, um, ellis Jones here with me
today from Sheffield right,you're in Sheffield, aren't?
Speaker 3 (00:45):
you.
Is that?
Speaker 2 (00:45):
that's where I live, yeah cool and he is going to be
our last pod of this season four, so we're going to wish you all
a nice holiday season and, and,ellis, thanks so much.
I I'm really happy that wefinally connected and and we get
to kind of share your, yourmusical history so far.
Um, so thanks for hopping onand spending some time with us.
(01:07):
Yeah, it's a pleasure.
Um, I've been really enjoyingyour, I would say, a little bit
of a revamp of your style.
Um, and before we get into thenew new stuff, where did it
start for?
you ellis, like when did musicstart to click for you?
And you know, you got yourfirst guitar and you wrote your
(01:29):
first song.
Can you kind of give us some ofthat back history of of how you
got into the music, um, as apassion and also as a career
possibility?
Speaker 3 (01:41):
career possibility.
Yeah, it's still a possibilityrather than than an actuality.
Um, I mean, I've I've playedmusic for pretty much as long as
I can remember.
I think I got a guitar at fiveor so, um, and I think, yeah, I
got an electric guitar as whichwas a poor choice on my parents
part, I think, um, volume wiseuh, played in bands, kind of as
(02:04):
young as sort of nine or ten,but we had a band that played,
looking back, music that I stilllike, but you know nothing to
do with me, but my friend, myfriend was really into the
ramones, so we were doing kindof ramones covers at that age,
um, and then sort of writingthings myself from from about 15
or 16, um, and kind of got alittle multi-track around that
(02:25):
time.
So I think that's when Istarted becoming interested in
recording and you know the sortof iterative process of
recording things, listening,realizing that, you know the way
that you think you sound inyour head when you, when you put
it on tape or whatever that'sthere's that, there's that.
You know disjunct there.
(02:45):
So, um, yeah, and then so trustfund.
This musical project, I think,began in about 2010, so I would
have been 21 ish, something likethat.
Um, and it was, it was a kindof bedroom pop thing that then
turned into a slightly moremaybe a kind of power poppy type
(03:06):
thing.
Uh, that brought other peopleon board and then around sort of
2014-15 was kind of, where Iguess we had, um, some degree of
success.
You know, very limited degreeof success, but in terms of the
music that people know of ofmine and of ours it's, it's
often a couple of records fromaround then, um, yeah, and then
(03:28):
kind of went on for a few yearsfrom there and then, for various
reasons, it felt like a goodtime to.
Well, at the time I guess I Ithought it was.
It was a kind of a full stop.
But obviously here I am on apodcast trying to promote the
new album.
Speaker 2 (03:45):
It's, it's hard, it's , it's something hard to get out
of your blood.
Once you've, you've, you've hadthat and I mean you're just
you're.
Your catalog is is reallyamazing.
I've had a chance to kind oflike dive back.
I mean listening to I've beenages from 2012.
I mean such a great record andI love the progress that you
made throughout the records andthey got a lot of attention,
(04:09):
like just looking at the peopleon Bandcamp that actually you
know would purchase.
I know that you weren't sellingit for thousands of dollars
right, you wanted it to get outthere, but I think you were
really successful in gettingyour music into a lot of
people's ears.
Speaker 3 (04:23):
Yeah, and looking back, actually that was a peak
era for Bandcamp as well.
Right, it was a time whenpeople were using that for music
discovery, whereas now, I mean,I don't think it works in the
same way as a tool for musicdiscovery, but also in terms of
if you're trying to gauge thepopularity of something,
bandcamp is probably not wherepeople would go to look at that.
(04:47):
But yeah, I think it did findan audience, certainly a bigger
audience than I'd ever expectedit to.
So I'm still very grateful that.
You know it's that thing of youkind of always want a few more
people to be listening.
But equally, it's nice to feellike there are even if it's like
a couple of hundred, say thatthere are people who are kind of
(05:07):
would anticipate a new releaseand would listen to it and kind
of be hopefully mildly excitedat the prospect of new music
from from me, you know right,yeah right, amazing.
Speaker 2 (05:18):
And like, if you rewind a little bit to those
first albums that trust oneactually were putting out, yeah,
what was your, your, yourmindset behind it?
Like what, did you have an ideaof the kind of style you wanted
, or did it evolve over timebecause it did shift right?
Like it wasn't a consistency,like you'd turn a Trust Fund
album on.
It would be like, okay, I knowwhat to expect.
(05:39):
Like it was almost you weresurprising people.
How much was that plannedversus how much did that just
happen naturally over time.
Speaker 3 (05:48):
Yeah, not planned at all and probably just about
changing tastes or not tastes,because I do think lots of
people are quite omnivorous intheir tastes Right, but changing
changing passions or changingkind of interests in terms of,
like, different musical ideasthat seem worth exploring at a
certain time.
So, yeah, I've been ages thatyou mentioned that 2012 ish was.
(06:12):
I mean, I was mostly, I guess Iwas listening to a lot of like
drake and frank ocean and thingslike that, and I don't know
whether that's exactly whatcomes across, but it's quite
loop based, it's quite rightsynthy and then, you know, a few
years after that, it's quitefuzzy guitar music.
Um, yeah, and I've just I mean,I don't know what the next
(06:35):
thing is, but I have just, I didjust buy a sampler on ebay this
week, so you know just alreadylike kind of think, oh, it'd be
kind of nice to mess around withthat again and yeah, so, right,
I don't think there's anydeliberate intent to um,
surprise, but equally, I'm uh,quite glad that hopefully, the
idea of like listening to atrust fund release, um, doesn't
(06:59):
necessarily imply too much aboutwhat it's going to sound like
right, right.
Speaker 2 (07:04):
Did you have different players that that
played on on each of thoserecords that you'd put out?
I mean, I think it was, I readfive or six or eight, or you can
fill in that gap there, butyeah, did you always have the
same people coming in toaccompany you, or did that crowd
also shift and did thatinfluence what?
(07:24):
What the sound eventually endedup on the records?
Speaker 3 (07:28):
yeah, there's, there's a.
There's been times when it hasbeen a pretty consistent lineup
and other times when it's been abit more ad hoc.
You know that I grew up inbristol and that's kind of where
the, the band or the projectstarted and there was a time
there where it felt like, oh,we'll just kind of see who's
around that week and kind ofplay with those people and in
(07:49):
hindsight that was justsomething that was very, um, I
was quite fortunate to be ableto do in terms of you know, that
time in your life where peopleare just kind of setting aside
time to mess around with musicand um, playing gigs where
there's there's no pressure andno expectation and things like
that.
And I, you know in, you knowI'm in my mid-30s now and people
(08:11):
are not I'm not that availableand other people aren't that
available to to mess around likethat.
So it's it's a bit morestructured now.
Um and the, the live.
We're playing as a duo, so it'sme and cd, who's my girlfriend,
um, and you know we livetogether, so that makes it very
easy to to practice and thingslike that that's great.
Speaker 2 (08:30):
That's great.
Yeah, and do you think that, um, as you were, um your
songwriting process over time?
Do you think that that hasevolved as well?
I mean, does?
Does process change as yourstyle shifts, like, or do you
always tend to approach yoursongwriting in a in a very
similar way?
Speaker 3 (08:50):
Yeah, I don't know.
That's a good question.
I think it's always quitesimilar, which is, yeah, I think
, a question that I get a lot,or the but not that I get asked
many questions too often.
But you know, even chattingamongst friends it's kind of do
you write the lyrics first orthe music first?
And I think for me it's usuallykind of a lyrical idea.
(09:15):
Um, that seems to me interestingenough to set to music and
often using some aspect of thelyric to kind of shape a melody,
if that makes sense, or thinkabout how it would sort of
naturally fall as a melody, andthen from there, even if it's
literally just one line, that'soften enough to write the whole
song.
So you kind of have one line oflyrics, then all the music and
(09:37):
then you're kind of filling inthe rest of the lyrics.
So you can I, from myperspective at least if you
listen to any Trust Fund song,you can probably tell what the
line I thought was good enoughTo base a whole song around, and
then the rest of it is kind ofdross or filling in bits from
Notes I've taken and things likethat.
So yeah, it's been prettysimilar, just with different
(10:00):
textures, I suppose, anddifferent instrumentation.
Speaker 2 (10:04):
And different people Do.
Do you, do you know when you'repenning a song and it catches
you like, do you get thatfeeling of, okay, this, I think
I'm on to something here, or isit put aside?
And then you pull it back outand like, how do you know when
something is worth continuingthat process with and that might
(10:28):
eventually, you know, be ontape?
Speaker 3 (10:31):
I think, having done that, you know that that sort of
period of being a teenager andsort of recording things,
listening back, eventually youdon't have to do that anymore.
You know, eventually you realizewhen you're practicing
something, oh, this, this willsound good, or this does sound
good, um.
So I think these days I meanit's kind of embarrassing but
(10:53):
the I think if when I writesomething that I think is good,
I get an emotional response thatI hope is similar to to
listening to it, and obviouslyover time that kind of wears off
in that you know, you forget.
You know, I guess, especiallywhen you, when you've finished
an album and you listen back toit and you're kind of feeling
(11:15):
nothing about it at that pointpotentially, but you have to
hope that that thing that youthought was interesting about it
six months ago is still inthere for people encountering it
for the first time.
Um, so yeah, there is a feeling.
When you're, when you'rewriting, I think that I, I am it
sounds sort of self-involved,but you are kind of emotionally
responding to something thatyou're creating.
Speaker 2 (11:36):
Somehow you know absolutely Absolutely Well.
I mean it's coming from yoursoul and from your mind and like
it's a personal thing really.
It's interesting too that yousay that from I'm thinking from
a listener standpoint of whenthere's a song that I encounter
that's just like, oh my God, Iwant to listen and listen, like
I almost have to stop myselfbecause I don't want to over
(11:57):
listen, and then it just losesthat meaning that it has right
in the moment.
Speaker 3 (12:06):
Um, so it's interesting to see it from your,
from the other side, the otherperspective, which is pretty
cool I suppose, yeah, thinkingabout it like that, it's not
surprising that it loses meaningfor songwriters, because you,
you sort of inherently have toplay it to yourself, even just
to think, okay, where does it gonow after the verse, or
whatever, or you've made a demothat you want to be able to
listen back to.
So, yeah, I have heard thesesongs more than anyone else on
(12:27):
the planet.
It's probably not surprisingthat?
well, me and Celia, and Celia isreally sick of them.
Speaker 2 (12:33):
So well, it's that juggernaut of music where you
just every detail, you're,you're, you're, you're, you know
, you're hanging on, justbecause you want the overall
thing to be something that youcan put out into the world.
Speaker 1 (12:48):
Then it's there it doesn't go anywhere, it's going
to be there.
Speaker 2 (12:51):
I mean, yeah, forget cds or tapes or whatever.
Once it's out there, it's in inpeople's minds, so it's's.
It's a different.
You want it to be perfect.
Um but that requires gettingsick of it to no end you know,
and the mixing and the um.
I wanted to ask you too, likebecause you've been playing
music for so long, can you tellus a few of the moments where,
(13:16):
where it shifted for you, whereyou felt like you went to that
next level with your music?
Were there moments in timewhere you're like that was a
changing point?
That's when we didn't have toinvite people to the show
anymore, they just startedshowing up.
Do you remember those kinds oflittle moments that happened in
your career?
Speaker 3 (13:38):
I'm sure there are some.
I mean, I don't think I'm verygood at kind of what's the word?
Kind of being in the momentenough to recognize that kind of
shift, I mean recently.
So we just had the album outand we played.
You know, there's this stringquartet arrangements on the
album.
You know, there's this stringquartet arrangements on the
(13:58):
album, well, through most of therecord really, that I wrote,
but I sent them basically tosomeone on the internet to play,
so I hadn't, I'd heard them andI was really pleased with how
they came out and everything.
But we had the album releaseshows and we played with a
string quartet based inSheffield.
So that concert where you know,it's the first time I've played
(14:20):
alongside the strings playersplaying that record, you know,
and it's the first time I'vehanded the sheet music to
someone and I I don't I don'treally read sheet music.
So to give that to someone andsay, okay, you know, what do you
make of this?
Let's, let's see if we can workthis out.
And you know, it was somethingI was really, really worried
(14:41):
about because it's just a newthing, it's a new way of and we
only had one rehearsal and justyou know, and I was also
co-promoting the concert, sothere's all just these little
things that were kind ofstressing me out about it.
And we played that Sheffieldshow, yeah, show, um, yeah, a
(15:01):
few weeks ago and it, from myperspective, it went really,
really well.
It was an audience of peoplewho I didn't know absolutely
everyone, everybody there butit's like it's where I live, so
there was a lot of familiarfaces there who kind of uh, knew
how much it meant to me as well.
Um, and I think that was thatwas the only moment, the only
time ever, I think, where I'vegot to the end of a concert and
I felt like emotionally kind offlooded, or I was going to say
(15:25):
drained, which is the totalopposite of flooded, but right,
you know, just emotionally likewow, like I sort of couldn't I
didn't quite know how to respond.
And yeah, I kind of was justlike, wow, I don't know what to
do and and you know everyone wasit was, it was well received, I
think.
But it was more just that thingof wow, we, we actually did
that.
Um, and I'm not sure if that'sprecisely the kind of thing you
(15:47):
were, you were asking about, butthat I thought, wow, I know
that I achieved something.
Do you know what I mean?
Rather than just kind ofgetting to the end and be like
you know, oftentimes you'replaying a half hour set and
either there's a band on afteryou or they need to tidy up.
So the first thing after youplay is like, oh, let's put the
(16:08):
cables away, let's make sure,you know, let's run off to the
merch table, or you know thesethings.
That just admin, basically, um,so it was really nice to have a
moment like that.
That felt kind of musically,musically special, I guess is it
possible that that ended up onyoutube?
Speaker 2 (16:24):
because I did watch a show, yeah, recently.
Well, I watched it yesterday,yeah of you and you had four
violinists, a cellist andyourself, and then you had a I
I'm not sure if it was your,your partner or not, but, yeah,
you had a female vocal as well.
Speaker 3 (16:41):
That came yeah, that's celia.
I'm pretty sure that would havebeen the same thing, that some
at least some of it was recorded, yeah yeah, I, I.
Speaker 2 (16:48):
I hear you when you say that that emotional because
it it felt that way too watchingit yeah it.
It felt like real and true andgenuine and like no filters,
like just like here I am, hereare my songs.
Um, I thought it was reallycharming and I can only imagine
being there live.
How that must have felt, um,for the listeners themselves uh
(17:11):
yeah, yeah I think it was quitea good.
Speaker 3 (17:14):
I think, and I hope it was a kind of shared
experience there and I think youcan kind of tell to the extent
to which the audience is kind ofwith you, and it felt really
special.
Speaker 2 (17:25):
Well, you know, I could tell through your
expressions, you know, becausethe camera was on you most of
the time and then it would pannow and then to the other
players.
But I could see that emotion inyou.
But I could see that emotion inyou and, and you know, like
kind of um, timid, but at thesame time just like glowing on
the inside, and I thought yourdelivery was really amazing.
(17:46):
Your tar playing was justsensational, um, and and it's
really reflected in this, inthis latest record I want to get
the title right Hasn't been awhile and it has been a while.
So this was a six-year periodbetween the last trust fund to
this one that you just put out,what had come out november 1st
(18:08):
of this year, um, and it isquite a, quite a departure from
your previous recordings.
Could you expand on, maybe, howlike, like, how did how?
Did your vision kind of changeor how did something?
Was this idea brewing for awhile that you would strip it
back?
Acoustic, um, you know,classical instrumentation with a
(18:30):
very kind of singer song rateyaesthetic to it.
Was this something that you hadwanted to do like for a while
or was this something youdiscovered over the that period
of time that you were um, youknow, not writing or performing
or releasing, I should say yeah,I think it's probably a kind of
um, ultimately a kind of covidlockdown thing or I suppose
(18:54):
there's a few aspects to it.
Speaker 3 (18:55):
I mean, it stopped with the band and then so
actually that really stopped in2017.
It just took us a while to getthe record out, um, and then
kind of I guess wasn't, wasn'tplaying electric guitar, wasn't
playing live music with anyone,but you know, there was always
the kind of the classical.
Yeah, I suppose it was sort of2020, 2021 where I just had a
(19:22):
bit more time to to go a bitdeeper into that and and start
thinking more about, you know,always written on classical
guitar, always never written onelectric, just kind of always
found it easier.
I think there's something aboutwriting an electric guitar that
feels like cheating almost.
You know, it always sounds kindof cool and good, but if you can
(19:44):
make if you can write a song onsort of a couple of pedals in
there.
Speaker 2 (19:47):
And yeah, exactly, you know it's it.
Speaker 3 (19:49):
You've kind of um given yourself too much.
Um already I think so alwayswrote that way.
But then I think just yeah, Idon't know just kind of
naturally started um, focusing abit more on technique and a bit
more on different styles ofplaying and things like that.
Um, yeah, and I don't.
It wasn't until quite late onthat.
I thought actually this is,there's so much of this stuff
(20:11):
that it's essentially a record'sworth of things that sound
basically, uh, texturally thesame.
Um, you know, I hope there'svariation within things that
sound basically texturally thesame.
You know, I hope there'svariation within the songs, but
in terms of the timbre orwhatever you know the kind of
the way that the record's laidout, it's kind of the same all
the way through, and thatthere's been quiet, like
(20:39):
acoustic-y songs on earlierTrust Fund records, but they're
always kind of within otherstyles of music going on.
So the thing this time, Isuppose, was to say that here's
half an hour's worth of musicthat is basically trying to
achieve more or less one thingor more or less a consistent
thing across that time.
Speaker 2 (20:55):
Yeah, yeah, yeah are.
Did the themes change at all?
Like, I don't know, like a afuzz indie rock song theme.
Does that translate to likemore of an indie folky singer
songwriting theme or did thethemes get deeper it with this
latest record?
Speaker 3 (21:17):
I think the themes are kind of slightly less goofy,
a tiny bit less sort of sillywhich not that the music was
ever silly before, really butthere's kind of a willingness to
talk about very kind ofspecific real world.
You know, there's lots ofmentions of, like supermarkets
(21:38):
or, you know, phones and sort ofcrisps, I, I don't know just
very like ephemeral stuff, um,maybe more playful a little bit.
I think, yeah, that maybethat's the better word.
Yeah, more playful, um, yeah,whereas I think you know I hope
that the lyrics aren't too sortof dour or anything and and
hopefully still kind of umplayful in a way.
(21:58):
But I definitely sort ofsteered away from the, away from
sort of contemporary referencesa little bit and away from, um,
probably away from as muchdirect experience, um, trying to
be a little bit more observantrather than self self-reflective
(22:20):
, if you know what I mean yeah,yeah, I was gonna say that they
feel much more reflective.
Speaker 2 (22:24):
Um, yeah, still playful.
I mean, as I listen to therecord, I I follow along the
lyrics and I mean you're a very,very good songwriter.
Um, your, your.
Your finger picking too is justlike I love it.
Um, it has such an to it justseems to flow off your fingers
and then your accompanyinglyrics really play well with.
(22:45):
So I mean, sometimes it's hard,like a voice in a guitar, and
you're like, okay, I mean it'sas raw as you can get, it's as
basic as you can get.
But yeah, I think that thattakes a lot of courage to do and
also a lot of thought andreflection, because there's
nothing to hide behind yeah,that's.
Speaker 3 (23:05):
The other difference, in the lyrics as well, is that
in a rock song you can get awaywith a few lines that, uh, throw
away, or even there's there'slines that I, you know,
literally just mumble because Ididn't know what I was singing
so I just thought it'll besomething like this, you know
justa little word salad, yeah and
doing it this way made merealize how, yeah, as I said, if
(23:28):
you start with a really goodlyric and then you're filling in
the rest at some point, I wouldsort of stop bothering and say,
oh well, it doesn't reallymatter what I'm doing in that
bit, and even I mean, some ofthe lyrics on this record were
written kind of the day ofrecording when I knew we were
going into record and I thoughtwe really, really have to finish
this.
But for the most part thingswere a bit more thought through
(23:52):
and lyrically, as you said,there's no hiding place, so you
need to be at least notembarrassed by the worst of the
lyrics, you know.
Speaker 2 (24:00):
Right right.
So there's been a bit of timebetween the release, november
1st of.
Has it been a while?
What are your impressions now?
I mean, I know you're saturatedfrom listening to it, but like,
what do you feel now lookingback on this?
You know, amazingaccomplishment that you've done.
I mean being away for that longand coming back and changing
(24:24):
your aesthetic of what yoursound is.
I mean, it's a lot of risksthat you took.
How are you feeling about itnow?
Like, with a little bit ofdistance and a little bit of
retrospect, where are you atwith it?
Speaker 3 (24:40):
Yeah, quite pleased.
I think I haven't listened tothe record in in a few months, I
guess, um, but I've been.
You know, we've just come offtour.
We played 12 shows in in the ukthis month, um, and that's
obviously a good kind ofindication of how the music's
being received, um, and that youknow that that was the.
(25:01):
You know, as I said, I've neverfelt particularly um concerned
about changing the style interms of the recordings, but
it's when you play live thatpeople arrive expecting a
certain thing and you know it's.
It's different if you like, youknow you put it on bandcamp.
You don't actually have to seepeople's faces as you're playing
those songs.
So I think it did take because,yeah, so it was kind of hadn't
(25:22):
played live for until maybe late2022.
We played, I played an acousticset and I think it's probably
taken about that time, so almosttwo years, to get to a point
where people are arrivingexpecting more or less what
we're going to do.
Um, because you know it was, asI said, when, when the band was
(25:44):
at its most popular, it was akind of four-piece electric
guitar, you know rock band, um,and that's fun and like there
are definitely.
You know, I'm not.
I'm not saying that's not goodyou know, but we're trying to do
something different.
So it's about trying to makesure that people are arriving
well, either that people knowwhat to expect or feeling that
you're trying to do somethingdifferent.
So it's about trying to makesure that people are arriving
Well, either that people knowwhat to expect, or feeling that
(26:05):
you're going to play somethingthat is good enough or
interesting enough that by theend of it, people will say, well
, it's not what I expected, butit was still good.
You know, and I think I thinkthat's the point we're at now,
where most people aren't comingexpecting, you know, the hits
from 2015,.
Speaker 2 (26:22):
basically, Right, that's cool.
So just to kind of bring thingsto a close else again, thanks
so much for for sharing some ofyour stories and and spending
some time it's.
It's been really fun listeningwhat's coming down the pipe here
.
So we're closing out 2024.
Like is the writing continuingMore tours.
(26:43):
What can you share with usabout the future of Trust Fund?
Speaker 3 (26:49):
More touring anywhere that will have us.
Basically, the label that putthis album out is based in
Hamburg, in Germany, so we'regoing to do some dates in
Germany and, I think, spain nextyear and hopefully more of
Europe.
You know, north America is justtricky for various reasons.
So we'll see.
And yeah, in terms of writing,this is this is also the only
(27:12):
time where I've got to the endof a record and thought actually
that was, those were the songsthat I had and we recorded them
all.
You know, normally there's beena bit of an overlap and you
think, oh, this one doesn'tquite fit on this record, but I
can maybe just wait and see forthe next one.
There were, there werebasically 12 songs and they,
they got recorded.
So it is a.
It is a kind of break, althoughyou know I'm I'm playing guitar
(27:35):
a lot, obviously, but I I'mtrying to be a bit more involved
with other people's music, um,partly because it's fun, but
also to sort of tame my you knowego a little bit.
And so celia plays in a kind ofindie folk band called radiant
heart and they've finished arecord that I am kind of mixing
(27:55):
and sort of co-producing.
So that's all of the trust fundstuff has kind of been, uh, you
know, has taken a lot of bothof our time, and so I have
promised that getting thisrecord finished for celia's band
is, you know, before I startthinking about any other trust
funds that has to get, that hasto get done, which is I'm
looking forward to, I should sayyeah yeah, yeah, well, good on
(28:18):
you.
Speaker 2 (28:18):
I mean it's amazing when, when a partnership also
blossoms into the creative, youknow realm of things as well.
I mean it's always tricky whenyou're you know, kind of working
and having a relationship.
Um, it takes some talking andnavigating at times, but that's
really sweet of you to um tokind of like put your project on
(28:41):
hold and focusing on yourpartners.
Speaker 3 (28:43):
So good on you for that Well, yeah, it's definitely
overdue.
So, yeah, and it's going to bea really good record Awesome.
Speaker 2 (28:50):
Well, I'll mention it and I'll put a link to it on my
blog with this episode, so thatpeople can check it out as well
.
Speaker 3 (28:56):
Yeah, lovely, thank you.
Speaker 2 (28:58):
Well, thanks so much and I wish you all the best.
I hope you have a nice holidayseason.
Get a little bit of rest, maybesome fun, Maybe jam out, pull
the distortion pedal out of itfor some fun.
But it's been really great andI appreciate you spending some
time with us.
Speaker 3 (29:16):
Thanks, chris, it's been fun.
Speaker 1 (29:20):
Thank you Cool.
Has it been a while I hadn'teven noticed?
I hadn't even noticed.
I have been very focused.
Has it been a while?
(29:43):
I wouldn't know about it and Ihave not been counting the weeks
, the days, the hours.
I never even thought once of myboundless, countless months of
(30:08):
love.
If you've been watching, youhave only seen me smile.
Has it been a while I have beenconcentrating On work?
That's all embracing?
(30:29):
I am immediately facing, I amneeded many places On a more
than daily basis.
Don't know why I have to saythis.
Don't know why I have to say mythoughts never drift to you
(30:59):
late at night or early morningand I never hear you calling me
from halfway down the aisle.
Has it been a while?
Doctor, I've been pondering over which ailment to
bring you.
If I'm only allowed to bringyou one, if I'm only allowed to
bring you one, then I bring untoyou my heart, shrouded in the
(00:31):
dark, fletching wildly far fromthe mark Trust Fund.
Speaker 2 (00:39):
I have Ellis Jones here with me today from
Sheffield.
Right, you're in Sheffield,aren't you?
That's where I live, yeah, cool, um, ellis Jones here with me
today from Sheffield right,you're in Sheffield, aren't?
Speaker 3 (00:45):
you.
Is that?
Speaker 2 (00:45):
that's where I live, yeah cool and he is going to be
our last pod of this season four, so we're going to wish you all
a nice holiday season and, and,ellis, thanks so much.
I I'm really happy that wefinally connected and and we get
to kind of share your, yourmusical history so far.
Um, so thanks for hopping onand spending some time with us.
(01:07):
Yeah, it's a pleasure.
Um, I've been really enjoyingyour, I would say, a little bit
of a revamp of your style.
Um, and before we get into thenew new stuff, where did it
start for?
you ellis, like when did musicstart to click for you?
And you know, you got yourfirst guitar and you wrote your
(01:29):
first song.
Can you kind of give us some ofthat back history of of how you
got into the music, um, as apassion and also as a career
possibility?
Speaker 3 (01:41):
career possibility.
Yeah, it's still a possibilityrather than than an actuality.
Um, I mean, I've I've playedmusic for pretty much as long as
I can remember.
I think I got a guitar at fiveor so, um, and I think, yeah, I
got an electric guitar as whichwas a poor choice on my parents
part, I think, um, volume wiseuh, played in bands, kind of as
(02:04):
young as sort of nine or ten,but we had a band that played,
looking back, music that I stilllike, but you know nothing to
do with me, but my friend, myfriend was really into the
ramones, so we were doing kindof ramones covers at that age,
um, and then sort of writingthings myself from from about 15
or 16, um, and kind of got alittle multi-track around that
(02:25):
time.
So I think that's when Istarted becoming interested in
recording and you know the sortof iterative process of
recording things, listening,realizing that, you know the way
that you think you sound inyour head when you, when you put
it on tape or whatever that'sthere's that, there's that.
You know disjunct there.
(02:45):
So, um, yeah, and then so trustfund.
This musical project, I think,began in about 2010, so I would
have been 21 ish, something likethat.
Um, and it was, it was a kindof bedroom pop thing that then
turned into a slightly moremaybe a kind of power poppy type
(03:06):
thing.
Uh, that brought other peopleon board and then around sort of
2014-15 was kind of, where Iguess we had, um, some degree of
success.
You know, very limited degreeof success, but in terms of the
music that people know of ofmine and of ours it's, it's
often a couple of records fromaround then, um, yeah, and then
(03:28):
kind of went on for a few yearsfrom there and then, for various
reasons, it felt like a goodtime to.
Well, at the time I guess I Ithought it was.
It was a kind of a full stop.
But obviously here I am on apodcast trying to promote the
new album.
Speaker 2 (03:45):
It's, it's hard, it's , it's something hard to get out
of your blood.
Once you've, you've, you've hadthat and I mean you're just
you're.
Your catalog is is reallyamazing.
I've had a chance to kind oflike dive back.
I mean listening to I've beenages from 2012.
I mean such a great record andI love the progress that you
made throughout the records andthey got a lot of attention,
(04:09):
like just looking at the peopleon Bandcamp that actually you
know would purchase.
I know that you weren't sellingit for thousands of dollars
right, you wanted it to get outthere, but I think you were
really successful in gettingyour music into a lot of
people's ears.
Speaker 3 (04:23):
Yeah, and looking back, actually that was a peak
era for Bandcamp as well.
Right, it was a time whenpeople were using that for music
discovery, whereas now, I mean,I don't think it works in the
same way as a tool for musicdiscovery, but also in terms of
if you're trying to gauge thepopularity of something,
bandcamp is probably not wherepeople would go to look at that.
(04:47):
But yeah, I think it did findan audience, certainly a bigger
audience than I'd ever expectedit to.
So I'm still very grateful that.
You know it's that thing of youkind of always want a few more
people to be listening.
But equally, it's nice to feellike there are even if it's like
a couple of hundred, say thatthere are people who are kind of
(05:07):
would anticipate a new releaseand would listen to it and kind
of be hopefully mildly excitedat the prospect of new music
from from me, you know right,yeah right, amazing.
Speaker 2 (05:18):
And like, if you rewind a little bit to those
first albums that trust oneactually were putting out, yeah,
what was your, your, yourmindset behind it?
Like what, did you have an ideaof the kind of style you wanted
, or did it evolve over timebecause it did shift right?
Like it wasn't a consistency,like you'd turn a Trust Fund
album on.
It would be like, okay, I knowwhat to expect.
(05:39):
Like it was almost you weresurprising people.
How much was that plannedversus how much did that just
happen naturally over time.
Speaker 3 (05:48):
Yeah, not planned at all and probably just about
changing tastes or not tastes,because I do think lots of
people are quite omnivorous intheir tastes Right, but changing
changing passions or changingkind of interests in terms of,
like, different musical ideasthat seem worth exploring at a
certain time.
So, yeah, I've been ages thatyou mentioned that 2012 ish was.
(06:12):
I mean, I was mostly, I guess Iwas listening to a lot of like
drake and frank ocean and thingslike that, and I don't know
whether that's exactly whatcomes across, but it's quite
loop based, it's quite rightsynthy and then, you know, a few
years after that, it's quitefuzzy guitar music.
Um, yeah, and I've just I mean,I don't know what the next
(06:35):
thing is, but I have just, I didjust buy a sampler on ebay this
week, so you know just alreadylike kind of think, oh, it'd be
kind of nice to mess around withthat again and yeah, so, right,
I don't think there's anydeliberate intent to um,
surprise, but equally, I'm uh,quite glad that hopefully, the
idea of like listening to atrust fund release, um, doesn't
(06:59):
necessarily imply too much aboutwhat it's going to sound like
right, right.
Speaker 2 (07:04):
Did you have different players that that
played on on each of thoserecords that you'd put out?
I mean, I think it was, I readfive or six or eight, or you can
fill in that gap there, butyeah, did you always have the
same people coming in toaccompany you, or did that crowd
also shift and did thatinfluence what?
(07:24):
What the sound eventually endedup on the records?
Speaker 3 (07:28):
yeah, there's, there's a.
There's been times when it hasbeen a pretty consistent lineup
and other times when it's been abit more ad hoc.
You know that I grew up inbristol and that's kind of where
the, the band or the projectstarted and there was a time
there where it felt like, oh,we'll just kind of see who's
around that week and kind ofplay with those people and in
(07:49):
hindsight that was justsomething that was very, um, I
was quite fortunate to be ableto do in terms of you know, that
time in your life where peopleare just kind of setting aside
time to mess around with musicand um, playing gigs where
there's there's no pressure andno expectation and things like
that.
And I, you know in, you knowI'm in my mid-30s now and people
(08:11):
are not I'm not that availableand other people aren't that
available to to mess around likethat.
So it's it's a bit morestructured now.
Um and the, the live.
We're playing as a duo, so it'sme and cd, who's my girlfriend,
um, and you know we livetogether, so that makes it very
easy to to practice and thingslike that that's great.
Speaker 2 (08:30):
That's great.
Yeah, and do you think that, um, as you were, um your
songwriting process over time?
Do you think that that hasevolved as well?
I mean, does?
Does process change as yourstyle shifts, like, or do you
always tend to approach yoursongwriting in a in a very
similar way?
Speaker 3 (08:50):
Yeah, I don't know.
That's a good question.
I think it's always quitesimilar, which is, yeah, I think
, a question that I get a lot,or the but not that I get asked
many questions too often.
But you know, even chattingamongst friends it's kind of do
you write the lyrics first orthe music first?
And I think for me it's usuallykind of a lyrical idea.
(09:15):
Um, that seems to me interestingenough to set to music and
often using some aspect of thelyric to kind of shape a melody,
if that makes sense, or thinkabout how it would sort of
naturally fall as a melody, andthen from there, even if it's
literally just one line, that'soften enough to write the whole
song.
So you kind of have one line oflyrics, then all the music and
(09:37):
then you're kind of filling inthe rest of the lyrics.
So you can I, from myperspective at least if you
listen to any Trust Fund song,you can probably tell what the
line I thought was good enoughTo base a whole song around, and
then the rest of it is kind ofdross or filling in bits from
Notes I've taken and things likethat.
So yeah, it's been prettysimilar, just with different
(10:00):
textures, I suppose, anddifferent instrumentation.
Speaker 2 (10:04):
And different people Do.
Do you, do you know when you'repenning a song and it catches
you like, do you get thatfeeling of, okay, this, I think
I'm on to something here, or isit put aside?
And then you pull it back outand like, how do you know when
something is worth continuingthat process with and that might
(10:28):
eventually, you know, be ontape?
Speaker 3 (10:31):
I think, having done that, you know that that sort of
period of being a teenager andsort of recording things,
listening back, eventually youdon't have to do that anymore.
You know, eventually you realizewhen you're practicing
something, oh, this, this willsound good, or this does sound
good, um.
So I think these days I meanit's kind of embarrassing but
(10:53):
the I think if when I writesomething that I think is good,
I get an emotional response thatI hope is similar to to
listening to it, and obviouslyover time that kind of wears off
in that you know, you forget.
You know, I guess, especiallywhen you, when you've finished
an album and you listen back toit and you're kind of feeling
(11:15):
nothing about it at that pointpotentially, but you have to
hope that that thing that youthought was interesting about it
six months ago is still inthere for people encountering it
for the first time.
Um, so yeah, there is a feeling.
When you're, when you'rewriting, I think that I, I am it
sounds sort of self-involved,but you are kind of emotionally
responding to something thatyou're creating.
Speaker 2 (11:36):
Somehow you know absolutely Absolutely Well.
I mean it's coming from yoursoul and from your mind and like
it's a personal thing really.
It's interesting too that yousay that from I'm thinking from
a listener standpoint of whenthere's a song that I encounter
that's just like, oh my God, Iwant to listen and listen, like
I almost have to stop myselfbecause I don't want to over
(11:57):
listen, and then it just losesthat meaning that it has right
in the moment.
Speaker 3 (12:06):
Um, so it's interesting to see it from your,
from the other side, the otherperspective, which is pretty
cool I suppose, yeah, thinkingabout it like that, it's not
surprising that it loses meaningfor songwriters, because you,
you sort of inherently have toplay it to yourself, even just
to think, okay, where does it gonow after the verse, or
whatever, or you've made a demothat you want to be able to
listen back to.
So, yeah, I have heard thesesongs more than anyone else on
(12:27):
the planet.
It's probably not surprisingthat?
well, me and Celia, and Celia isreally sick of them.
Speaker 2 (12:33):
So well, it's that juggernaut of music where you
just every detail, you're,you're, you're, you're, you know
, you're hanging on, justbecause you want the overall
thing to be something that youcan put out into the world.
Speaker 1 (12:48):
Then it's there it doesn't go anywhere, it's going
to be there.
Speaker 2 (12:51):
I mean, yeah, forget cds or tapes or whatever.
Once it's out there, it's in inpeople's minds, so it's's.
It's a different.
You want it to be perfect.
Um but that requires gettingsick of it to no end you know,
and the mixing and the um.
I wanted to ask you too, likebecause you've been playing
music for so long, can you tellus a few of the moments where,
(13:16):
where it shifted for you, whereyou felt like you went to that
next level with your music?
Were there moments in timewhere you're like that was a
changing point?
That's when we didn't have toinvite people to the show
anymore, they just startedshowing up.
Do you remember those kinds oflittle moments that happened in
your career?
Speaker 3 (13:38):
I'm sure there are some.
I mean, I don't think I'm verygood at kind of what's the word?
Kind of being in the momentenough to recognize that kind of
shift, I mean recently.
So we just had the album outand we played.
You know, there's this stringquartet arrangements on the
album.
You know, there's this stringquartet arrangements on the
(13:58):
album, well, through most of therecord really, that I wrote,
but I sent them basically tosomeone on the internet to play,
so I hadn't, I'd heard them andI was really pleased with how
they came out and everything.
But we had the album releaseshows and we played with a
string quartet based inSheffield.
So that concert where you know,it's the first time I've played
(14:20):
alongside the strings playersplaying that record, you know,
and it's the first time I'vehanded the sheet music to
someone and I I don't I don'treally read sheet music.
So to give that to someone andsay, okay, you know, what do you
make of this?
Let's, let's see if we can workthis out.
And you know, it was somethingI was really, really worried
(14:41):
about because it's just a newthing, it's a new way of and we
only had one rehearsal and justyou know, and I was also
co-promoting the concert, sothere's all just these little
things that were kind ofstressing me out about it.
And we played that Sheffieldshow, yeah, show, um, yeah, a
(15:01):
few weeks ago and it, from myperspective, it went really,
really well.
It was an audience of peoplewho I didn't know absolutely
everyone, everybody there butit's like it's where I live, so
there was a lot of familiarfaces there who kind of uh, knew
how much it meant to me as well.
Um, and I think that was thatwas the only moment, the only
time ever, I think, where I'vegot to the end of a concert and
I felt like emotionally kind offlooded, or I was going to say
(15:25):
drained, which is the totalopposite of flooded, but right,
you know, just emotionally likewow, like I sort of couldn't I
didn't quite know how to respond.
And yeah, I kind of was justlike, wow, I don't know what to
do and and you know everyone wasit was, it was well received, I
think.
But it was more just that thingof wow, we, we actually did
that.
Um, and I'm not sure if that'sprecisely the kind of thing you
(15:47):
were, you were asking about, butthat I thought, wow, I know
that I achieved something.
Do you know what I mean?
Rather than just kind ofgetting to the end and be like
you know, oftentimes you'replaying a half hour set and
either there's a band on afteryou or they need to tidy up.
So the first thing after youplay is like, oh, let's put the
(16:08):
cables away, let's make sure,you know, let's run off to the
merch table, or you know thesethings.
That just admin, basically, um,so it was really nice to have a
moment like that.
That felt kind of musically,musically special, I guess is it
possible that that ended up onyoutube?
Speaker 2 (16:24):
because I did watch a show, yeah, recently.
Well, I watched it yesterday,yeah of you and you had four
violinists, a cellist andyourself, and then you had a I
I'm not sure if it was your,your partner or not, but, yeah,
you had a female vocal as well.
Speaker 3 (16:41):
That came yeah, that's celia.
I'm pretty sure that would havebeen the same thing, that some
at least some of it was recorded, yeah yeah, I, I.
Speaker 2 (16:48):
I hear you when you say that that emotional because
it it felt that way too watchingit yeah it.
It felt like real and true andgenuine and like no filters,
like just like here I am, hereare my songs.
Um, I thought it was reallycharming and I can only imagine
being there live.
How that must have felt, um,for the listeners themselves uh
(17:11):
yeah, yeah I think it was quitea good.
Speaker 3 (17:14):
I think, and I hope it was a kind of shared
experience there and I think youcan kind of tell to the extent
to which the audience is kind ofwith you, and it felt really
special.
Speaker 2 (17:25):
Well, you know, I could tell through your
expressions, you know, becausethe camera was on you most of
the time and then it would pannow and then to the other
players.
But I could see that emotion inyou.
But I could see that emotion inyou and, and you know, like
kind of um, timid, but at thesame time just like glowing on
the inside, and I thought yourdelivery was really amazing.
(17:46):
Your tar playing was justsensational, um, and and it's
really reflected in this, inthis latest record I want to get
the title right Hasn't been awhile and it has been a while.
So this was a six-year periodbetween the last trust fund to
this one that you just put out,what had come out november 1st
(18:08):
of this year, um, and it isquite a, quite a departure from
your previous recordings.
Could you expand on, maybe, howlike, like, how did how?
Did your vision kind of changeor how did something?
Was this idea brewing for awhile that you would strip it
back?
Acoustic, um, you know,classical instrumentation with a
(18:30):
very kind of singer song rateyaesthetic to it.
Was this something that you hadwanted to do like for a while
or was this something youdiscovered over the that period
of time that you were um, youknow, not writing or performing
or releasing, I should say yeah,I think it's probably a kind of
um, ultimately a kind of covidlockdown thing or I suppose
(18:54):
there's a few aspects to it.
Speaker 3 (18:55):
I mean, it stopped with the band and then so
actually that really stopped in2017.
It just took us a while to getthe record out, um, and then
kind of I guess wasn't, wasn'tplaying electric guitar, wasn't
playing live music with anyone,but you know, there was always
the kind of the classical.
Yeah, I suppose it was sort of2020, 2021 where I just had a
(19:22):
bit more time to to go a bitdeeper into that and and start
thinking more about, you know,always written on classical
guitar, always never written onelectric, just kind of always
found it easier.
I think there's something aboutwriting an electric guitar that
feels like cheating almost.
You know, it always sounds kindof cool and good, but if you can
(19:44):
make if you can write a song onsort of a couple of pedals in
there.
Speaker 2 (19:47):
And yeah, exactly, you know it's it.
Speaker 3 (19:49):
You've kind of um given yourself too much.
Um already I think so alwayswrote that way.
But then I think just yeah, Idon't know just kind of
naturally started um, focusing abit more on technique and a bit
more on different styles ofplaying and things like that.
Um, yeah, and I don't.
It wasn't until quite late onthat.
I thought actually this is,there's so much of this stuff
(20:11):
that it's essentially a record'sworth of things that sound
basically, uh, texturally thesame.
Um, you know, I hope there'svariation within things that
sound basically texturally thesame.
You know, I hope there'svariation within the songs, but
in terms of the timbre orwhatever you know the kind of
the way that the record's laidout, it's kind of the same all
the way through, and thatthere's been quiet, like
(20:39):
acoustic-y songs on earlierTrust Fund records, but they're
always kind of within otherstyles of music going on.
So the thing this time, Isuppose, was to say that here's
half an hour's worth of musicthat is basically trying to
achieve more or less one thingor more or less a consistent
thing across that time.
Speaker 2 (20:55):
Yeah, yeah, yeah are.
Did the themes change at all?
Like, I don't know, like a afuzz indie rock song theme.
Does that translate to likemore of an indie folky singer
songwriting theme or did thethemes get deeper it with this
latest record?
Speaker 3 (21:17):
I think the themes are kind of slightly less goofy,
a tiny bit less sort of sillywhich not that the music was
ever silly before, really butthere's kind of a willingness to
talk about very kind ofspecific real world.
You know, there's lots ofmentions of, like supermarkets
(21:38):
or, you know, phones and sort ofcrisps, I, I don't know just
very like ephemeral stuff, um,maybe more playful a little bit.
I think, yeah, that maybethat's the better word.
Yeah, more playful, um, yeah,whereas I think you know I hope
that the lyrics aren't too sortof dour or anything and and
hopefully still kind of umplayful in a way.
(21:58):
But I definitely sort ofsteered away from the, away from
sort of contemporary referencesa little bit and away from, um,
probably away from as muchdirect experience, um, trying to
be a little bit more observantrather than self self-reflective
(22:20):
, if you know what I mean yeah,yeah, I was gonna say that they
feel much more reflective.
Speaker 2 (22:24):
Um, yeah, still playful.
I mean, as I listen to therecord, I I follow along the
lyrics and I mean you're a very,very good songwriter.
Um, your, your.
Your finger picking too is justlike I love it.
Um, it has such an to it justseems to flow off your fingers
and then your accompanyinglyrics really play well with.
(22:45):
So I mean, sometimes it's hard,like a voice in a guitar, and
you're like, okay, I mean it'sas raw as you can get, it's as
basic as you can get.
But yeah, I think that thattakes a lot of courage to do and
also a lot of thought andreflection, because there's
nothing to hide behind yeah,that's.
Speaker 3 (23:05):
The other difference, in the lyrics as well, is that
in a rock song you can get awaywith a few lines that, uh, throw
away, or even there's there'slines that I, you know,
literally just mumble because Ididn't know what I was singing
so I just thought it'll besomething like this, you know
justa little word salad, yeah and
doing it this way made merealize how, yeah, as I said, if
(23:28):
you start with a really goodlyric and then you're filling in
the rest at some point, I wouldsort of stop bothering and say,
oh well, it doesn't reallymatter what I'm doing in that
bit, and even I mean, some ofthe lyrics on this record were
written kind of the day ofrecording when I knew we were
going into record and I thoughtwe really, really have to finish
this.
But for the most part thingswere a bit more thought through
(23:52):
and lyrically, as you said,there's no hiding place, so you
need to be at least notembarrassed by the worst of the
lyrics, you know.
Speaker 2 (24:00):
Right right.
So there's been a bit of timebetween the release, november
1st of.
Has it been a while?
What are your impressions now?
I mean, I know you're saturatedfrom listening to it, but like,
what do you feel now lookingback on this?
You know, amazingaccomplishment that you've done.
I mean being away for that longand coming back and changing
(24:24):
your aesthetic of what yoursound is.
I mean, it's a lot of risksthat you took.
How are you feeling about itnow?
Like, with a little bit ofdistance and a little bit of
retrospect, where are you atwith it?
Speaker 3 (24:40):
Yeah, quite pleased.
I think I haven't listened tothe record in in a few months, I
guess, um, but I've been.
You know, we've just come offtour.
We played 12 shows in in the ukthis month, um, and that's
obviously a good kind ofindication of how the music's
being received, um, and that youknow that that was the.
(25:01):
You know, as I said, I've neverfelt particularly um concerned
about changing the style interms of the recordings, but
it's when you play live thatpeople arrive expecting a
certain thing and you know it's.
It's different if you like, youknow you put it on bandcamp.
You don't actually have to seepeople's faces as you're playing
those songs.
So I think it did take because,yeah, so it was kind of hadn't
(25:22):
played live for until maybe late2022.
We played, I played an acousticset and I think it's probably
taken about that time, so almosttwo years, to get to a point
where people are arrivingexpecting more or less what
we're going to do.
Um, because you know it was, asI said, when, when the band was
(25:44):
at its most popular, it was akind of four-piece electric
guitar, you know rock band, um,and that's fun and like there
are definitely.
You know, I'm not.
I'm not saying that's not goodyou know, but we're trying to do
something different.
So it's about trying to makesure that people are arriving
well, either that people knowwhat to expect or feeling that
you're trying to do somethingdifferent.
So it's about trying to makesure that people are arriving
Well, either that people knowwhat to expect, or feeling that
(26:05):
you're going to play somethingthat is good enough or
interesting enough that by theend of it, people will say, well
, it's not what I expected, butit was still good.
You know, and I think I thinkthat's the point we're at now,
where most people aren't comingexpecting, you know, the hits
from 2015,.
Speaker 2 (26:22):
basically, Right, that's cool.
So just to kind of bring thingsto a close else again, thanks
so much for for sharing some ofyour stories and and spending
some time it's.
It's been really fun listeningwhat's coming down the pipe here
.
So we're closing out 2024.
Like is the writing continuingMore tours.
(26:43):
What can you share with usabout the future of Trust Fund?
Speaker 3 (26:49):
More touring anywhere that will have us.
Basically, the label that putthis album out is based in
Hamburg, in Germany, so we'regoing to do some dates in
Germany and, I think, spain nextyear and hopefully more of
Europe.
You know, north America is justtricky for various reasons.
So we'll see.
And yeah, in terms of writing,this is this is also the only
(27:12):
time where I've got to the endof a record and thought actually
that was, those were the songsthat I had and we recorded them
all.
You know, normally there's beena bit of an overlap and you
think, oh, this one doesn'tquite fit on this record, but I
can maybe just wait and see forthe next one.
There were, there werebasically 12 songs and they,
they got recorded.
So it is a.
It is a kind of break, althoughyou know I'm I'm playing guitar
(27:35):
a lot, obviously, but I I'mtrying to be a bit more involved
with other people's music, um,partly because it's fun, but
also to sort of tame my you knowego a little bit.
And so celia plays in a kind ofindie folk band called radiant
heart and they've finished arecord that I am kind of mixing
(27:55):
and sort of co-producing.
So that's all of the trust fundstuff has kind of been, uh, you
know, has taken a lot of bothof our time, and so I have
promised that getting thisrecord finished for celia's band
is, you know, before I startthinking about any other trust
funds that has to get, that hasto get done, which is I'm
looking forward to, I should sayyeah yeah, yeah, well, good on
(28:18):
you.
Speaker 2 (28:18):
I mean it's amazing when, when a partnership also
blossoms into the creative, youknow realm of things as well.
I mean it's always tricky whenyou're you know, kind of working
and having a relationship.
Um, it takes some talking andnavigating at times, but that's
really sweet of you to um tokind of like put your project on
(28:41):
hold and focusing on yourpartners.
Speaker 3 (28:43):
So good on you for that Well, yeah, it's definitely
overdue.
So, yeah, and it's going to bea really good record Awesome.
Speaker 2 (28:50):
Well, I'll mention it and I'll put a link to it on my
blog with this episode, so thatpeople can check it out as well
.
Speaker 3 (28:56):
Yeah, lovely, thank you.
Speaker 2 (28:58):
Well, thanks so much and I wish you all the best.
I hope you have a nice holidayseason.
Get a little bit of rest, maybesome fun, Maybe jam out, pull
the distortion pedal out of itfor some fun.
But it's been really great andI appreciate you spending some
time with us.
Speaker 3 (29:16):
Thanks, chris, it's been fun.
Speaker 1 (29:20):
Thank you Cool.
Has it been a while I hadn'teven noticed?
I hadn't even noticed.
I have been very focused.
Has it been a while?
(29:43):
I wouldn't know about it and Ihave not been counting the weeks
, the days, the hours.
I never even thought once of myboundless, countless months of
(30:08):
love.
If you've been watching, youhave only seen me smile.
Has it been a while I have beenconcentrating On work?
That's all embracing?
(30:29):
I am immediately facing, I amneeded many places On a more
than daily basis.
Don't know why I have to saythis.
Don't know why I have to say mythoughts never drift to you
(30:59):
late at night or early morningand I never hear you calling me
from halfway down the aisle.
Has it been a while?
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