No mistaking the return of The Howl & The Hum as Sam Griffiths plays Leeds Irish Centre with new line-up and album

Sam Griffiths: Singer, songwriter and frontman of The Howl And The Hum. Picture: Stewart Baxter

TONIGHT the new The Howl & The Hum play Leeds Irish Centre, still led by singer and songwriter Sam Griffiths but with a line-up wholly changed since the York band’s trio of elegiac, unforgettable valedictory gigs at The Crescent last December.

In the tradition of a seven-year hitch, Sam parted company with bassist Bradley Blackwell, guitarist Conor Hirons and drummer Jack Williams, who had first met at open-mic nights in his University of York days.

Now living and working in Leeds, he addresses his feelings over the impact of the band’s break-up, together with the pandemic and his life-changing future direction, on Same Mistake Twice, the second album under The Howl And The Hum’s moniker, the first as a solo project with musicians friends on hand.

Available on CD and digitally since September 6 and now on vinyl too after a not-uncommon delay in printing, the album is self-released on Miserable Disco Records with distribution by AWOL. To buy, either head to thehowlandthehum.com or  townsendmusic.store/products/artist/The+Howl+%26+The+Hum.

Those are the facts. Let’s now quote Sam’s official statement on The Howl And The Hum chapter two. “This is an album about dread. About a very real, everyday dread so many of us feel surrounded by screens showing us how we should be, what a good person is, what a bad person is.

“It’s about trying to have and handle and process big, messy emotions in a world that wants things to be small, simple and quickly decided. Every person is flawed, every person has baggage, shrapnel they take with them that makes the airport security beep.”

The Howl & The Hum, 2016-2023: Conor Hirons, left, Jack Williams, Sam Griffiths, and Bradley Blackwell

Sam continues: “This album is about acknowledging that shrapnel, poking it, flipping it and seeing what lives under it, and learning to fall in love with the version of yourself full of holes and missing pieces. 

“This is a break-up album mourning the loss of a band, and all that comes with it: ego trips, insecurities, lost friendships, fading love, rekindling old fires and a path to acceptance.”

In keeping with the confessional, frank tone and vulnerable soul-searching of an album that opens with the title track lyric “You left for London like everyone else does/I stayed in Yorkshire avoiding success”, Sam says: “I don’t think I have come up with any consistent label for what this new phase is – not to sound like an ambivalent polyamorist – and the reason I say that is I don’t like to put labels on it, though I’ll call it an expansive solo project with an elaborate number of co-writers, co-musicians and co-producers.

“Fifteen-plus musicians contributed and then there’s another whole team for distribution and PR. But as Mark E Smith used to say, ‘if it’s me and your Nan on bongos, then it’s The Fall’!”

As it happens, Sam’s grandmother’s upright piano does feature on the album. “She left it to me in her will,” Sam recalls. “She was a piano teacher and that piano was my musical upbringing. Three quarters of the new songs were written on there.”

The cover artwork for The Howl And The Hum’s Same Mistake Twice album

The album, the follow-up to 2020’s Covid-blighted Human Contact, takes its title from the defining opening couplet: “I never make the same mistake twice, I always aim for a third time”. “It’s a very human thing to do: to repeat a mistake,” says Sam, who was amused at the prospect of being asked “Why would you want to give your second album that title?’.

“But I’d already written that opening track, so let’s talk about mistakes. We can make mistakes and learn from them, but we can also go back to them and repeat them and that tells us more about us. The more fallible the human is, the more interesting.”

Talk turns to the album’s focus on dread. “There’s a lot to dread sadly, and it feels like there are a lot of reasons for it. The most inescapable moments in our lives are filled with dread,” says Sam.

“The way those moments build up, if I ignore them, it’s like the ivy growing on the side of a house, but if you shine a light on them it feels braver and maybe they will not be as devilish as they first seem.

“The album is an absolute exploration of dread but hopefully with a sense of fulfilment and coming out into the light, with music standing for joy and embracing the community around you.

“It’s trying to find our own version of the light, finding strange reflections in the gloom, rather than being as obvious as just walking into the light. You can find things that are closer than the light at the end of the tunnel, which is often unobtainable, whereas you could appreciate the earth under your feet in the tunnel.”

“We have this screwed-up version of what success is, but surely it should be about different versions of fulfilment,” says Sam Griffiths. Picture: Stewart Baxter

As indicated by that lyric quoted earlier – the act of staying in Yorkshire avoiding success – the album reflects on “the dream I had to be a super, mega pop star and then year by year that peels away and you get a little older and you think, ‘may I will not be a Premier League footballer’.

“’Maybe, at 32, I’m not going to be an astronaut’,” says Sam. “It’s about appreciating the things you do have, like a fine wine. You begin to see the problems in the dreams you have.

“Why do we hold success up to the light? We have this screwed-up version of what success is, but surely it should be about different versions of fulfilment, not financial or social mores, but security and space in this world?”

Among those making the album with Sam were tonight’s support act, Elanor Moss, and Matthew Herd, whose saxophone playing is now a prominent feature of the new The Howl & The Hum live line-up.

“Elanor and I met over Zoom in the middle of lockdown and started writing together,” says Sam. “We both got into songwriting while we were studying English Literature at university, starting at open-mic nights, and she introduced me to producer Joseph Futak, who’s based in Hackney. Matthew is the principal songwriter in a band called Seafarers and he’s London based too.”

Joining Sam and Matthew on stage tonight at the sold-out Leeds Brudenell Social Club will be drummer Dave Hamblett, London guitarist Arun Thavasothy and bass player Naomi McLeod, Sam’s house-mate in Leeds. Doors open at 7.30pm. Stage times: Elanor Moss, 8.15pm; The Howl & The Hum, 9.15pm.

‘Artists are very difficult to be around,’ says Benjamin Francis Leftwich as he plays homecoming gig at The Citadel tomorrow

Benjamin Francis Leftwich: Looking to a higher power as a conduit for his songwriting. Picture: Harvey Pearson

NOW living in North London, singer-songwriter Benjamin Francis Leftwich heads back home tomorrow (25/2/2022)  to play The Citadel, his second church gig in York after his sold-out Minster concert in 2019.

The 7.30pm show is part of a 26-date tour from February 1 to March 4, showcasing To Carry A Whale, his fourth album for Dirty Hit Records, released last June.

Recorded over four months in his Tottenham home, at Urchin Studios in Hackney, in a hotel room in Niagara and in a Southend studio owned by Get Cape. Wear Cape. Fly’s Sam Duckworth, who shared production duties with Adele collaborator Eg White, it was the first record to be made by Ben entirely sober.

He has maintained that state since spending 28 days in rehab in January 2018, and it is reflected in the album title. “To Carry A Whale is an observation on what it’s like to be a sober alcoholic addict several years in,” he says. “A whale is heavy to carry. It’s gonna hurt you to carry it, but it’s also beautiful, and it’s a miracle to be able to carry all that at all.”

Carry it he does, but Ben is thriving on his creativity at 32. “I’m very lucky to do this, to write songs. I’ve been given a gift and I’m the custodian of it for now,” he says.

At the time of this interview – pre-tour in January – he was in a West Hampstead studio. “I’m working with Jimmy Hogarth and Bonnie Kemplay, a new artist with Dirty Hit,” he said. “We’re just jamming, writing a bit with Jimmy, who’s a legendary producer who’s also worked with Sam Griffiths [Ben’s fellow York songwriter and frontman of The Howl & The Hum].”

The artwork for Benjamin Francis Leftwich’s fourth album, To carry A Whale, released last June

Ben is now on the road, playing solo around the country. “That’s been a been a big conversation with my managers and label: should I play with musicians or go it alone – and we decided I’d do it totally solo, with just my tour manager James Kellegher and a sound engineer,” he says.

“I kind of like it this way. It gives me freedom with the set list and logistically it’s easier to tour this way. That’s how my bread is buttered. That’s how I started.”

Add the support acts Elanor Moss and Wounded Bear (alias Josh Finn), and “it will be three musicians singing from the heart and hopefully breaking hearts too,” says Ben.

Expect a few piano-based numbers in an acoustic set where all four albums – 2011’s Top 40 debut Last Smoke Before The Storm, when he was Dirty Hit’s first signing, 2016’s After The Rain, 2019’s Gratitude and last year’s To Carry A Whale – will be represented.

“Of course, I want to do songs from the latest record, but I have four to pick from and I’m under no illusion that people aren’t coming to see me for the songs they first loved,” says Ben.  “If I play songs they don’t know, then the line between disrespect and a musician’s right to autonomy is a fine one, but it should always be an opportunity to play new songs.”

Whereas actors and dancers must be disciplined team players, always on time for rehearsals and performances, rock musicians tend to be born out of rejecting rules, codes of conduct and 9 to 5 rituals.

“I’m very lucky to do this, to write songs,” says Ben. “I’ve been given a gift and I’m the custodian of it for now”

“It’s funny; I’ve got really into musical theatre – randomly but now I love it – and that’s a world where you train hard, you’re on a contract, whereas the life of a musician…you turn up when  you want, you might turn up high, you might be drunk; you might cancel the gig if you don’t feel like playing, but that’s why so many great songs have come out of that madness!” says Ben.

“Artists are very difficult to be around. We’re very prideful; we’re a nightmare to be in a relationship with; we want to be the centre of attention.”

 Yet, for all the baggage that goes with the outsider’s role, at the same time he feels a calling, a responsibility even, to create songs. “I believe that the songs are above us, to reach for, and if we limit a higher power, a god, when we can pluck magic out of nothing, then we limit the potential for beauty,” says Ben.

“For me, I have so many situations where songs come together in different ways. I think it’s like, ‘I’m not God, I can’t do this on my own’, but sometimes songs land on my lap, like when I was writing my first album on my own out of necessity.

“But so many wonderful songs come out of collaborations, though it takes a long time to be open hearted enough to entertain the thought that my ideas might not be my best just on their own.

“Allowing someone like Sam Duckworth to be the co-captain of the ship gave To Carry A Whale a cohesive energy that really benefited it.”

Benjamin Francis Leftwich in contemplative mood at York Minster ahead of playing the Nave in April 2019

Artists are sensitive, says Ben, to the point where “sadly it’s no secret that lots of us decide we don’t want to be alive anymore”, as he struggled after his father, University of York politics professor Dr Adrian Leftwich, died from cancer in April 2013. 

“It’s hard to explain. Single parents, teachers, are the real rock stars, but we do have things we struggle with, and it’s good to talk about it. There’s a lot of witchcraft around, but the only touchstone to spiritual growth that I’ve experienced is suffering.”

From there, as well as “from above”, come the songs of To Carry A Whale. “It was an honest record; I surrendered to it, I said what I wanted to say, people are discovering it, and I’m really looking forward to playing the songs at The Citadel,” he says.

“I last went there for a religious ceremony when I was at school [he attended Bootham School], so I know it’s a magical place to play.”

Looking to the future, Ben already has a producer lined up for his next album. “It’s half written, but whether it’s a year or ten, it will be finished when it is,” he says. “I’ll colour it in as it goes along.”

Benjamin Francis Leftwich plays The Citadel, Gillygate, York, tomorrow (25/2/2022), supported by Elanor Moss and Wounded Bear, at 7.30pm. Box office: thecrescentyork.com. Also playing The Foundry, Sheffield, tonight; The Parish, Huddersfield, Saturday.