Some men buy a Ferrari, others strike up an illicit affair. But in response to an impending midlife crisis, Radiohead drummer Philip Selway found solace in the humble stringed instrument…
The Oxford percussionist has reacquainted himself with his guitar and written a solo album. Making the brave leap from integral band member to independent singer-songwriter, he readily exposes his talents to the voracious masses. But those merciless critics hoping for a musical washout have been sadly disappointed; Selway’s foray into the lonely world of the solo artist has been greatly received so far, punctuated by the success of his first, full-length offering, ‘Familial’.
This accomplished debut boasts collaborations from the likes of songstress Lisa Germano and Glenn Kotche of Wilco, who help to “scuff up” the album’s overall aesthetic and prevent it from sounding too precious, as Selway asserts. “Obviously the songwriting process has to remain solitary,” he continues. “But I like working in a band as I definitely crave that dialogue.” And of course it makes perfect sense that someone so used to being part of a homogenised musical presence would find it hard to abandon this support network completely. But ‘Familial’ is quite distinct from the convoluted electronics and socio-political tirades of his Oxford companions. It is, instead, an intensely personal record, a plucky attempt at stripped-back, musical sincerity, which is by its very nature sentimental.
Saddened by the death of his mother and unnerved by his fast-approaching fortieth, making ‘Familial’ was the ultimate act of catharsis for Selway. But despite its downbeat instrumentation, the album’s lyrical content demonstrates an appreciation of life and a willingness to learn from your mistakes.
Emotions shift from the romantic intensity of ‘A Simple Life’, to the self-deprecation of ‘By Some Miracle’ (“I’ve clawed it back, I’m crawling back again”); love at its most imperfect. And aside from the potential hint of comedy in ‘The Ties That Bind Us’ (“Wait a minute, it’s all gone south”), this is most definitely a record to be taken seriously.
“I’ve basically taken a really close look at all of those significant relationships that you may have in your lifetime,” explains Selway. “I’ve read reviews that refer to the tales of the heart and home, which is not entirely true. It’s more about these significant relationships; how they shape you and how you shape them in return. There are elements of narrative in there but I was trying to concentrate on the underlying emotions that accompany those relationships.”
Selway enjoyed a brief tryst with songwriting at the start of his career, but any dreams of becoming a solo artist were quickly laid to rest as he focused on drumming with one of the world’s biggest bands. After hiding in the shadows for so long, it is only now, aged forty-three, that he finally feels comfortable being the centre of attention. “These feelings have been festering inside me for years,” he shamelessly admits. “At the time I didn’t really have the confidence in my singing voice, so becoming a singer-songwriter was a very gradual process. The singer side of it kind of grew out of necessity, in a way: the song came first and then it felt the most appropriate thing, but it certainly wasn’t driven by my desire to become a singer.”
Radiohead are busy putting the finishing touches to their next album but the band have been duly supportive of Selway’s solitary voyage. So has the drummer ever brought his ideas to the Radiohead table? “When it comes to arrangements I have always contributed,” replies Selway. “But the lyrics all come from Thom’s mind. I can’t get in there and I wouldn’t want to if I’m honest…”
Words by April Welsh