Tue Feb 22 2022

7:00 PM - 10:00 PM

The Bodega

23 Pelham Street Nottingham NG1 2ED

Ages 14+

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Support:
Elanor Moss
Wounded Bear

DHP Presents
Benjamin Francis Leftwich

  • Event Cancelled.
  • Benjamin Francis Leftwich

    Benjamin Francis Leftwich

    Alternative Folk

    Artistic transformation is often associated with a blast of fanfare – the dramatic unveiling of a
    new look, or lofty announcement of the revelation that prompted such a change. In the case of
    Benjamin Francis Leftwich, reinvention transpires with significantly more subtlety on his latest
    album, Some Things Break.
    “It feels like a new voice, in a way." the York-born artist says. "I guess a more human and
    perhaps a more surrendered voice. Learning to hold on to certain things and let go of others
    with as much grace as possible…I feel like I’m hiding less on this record. Ultimately i think it’s a
    record about a kind of slow acceptance that some things break and for me - sometimes that’s
    necessary for healing”
    Fans of Leftwich’s earlier work will associate him with a rich but pared-back acoustic
    singer-songwriter sound. Hit songs such as “Atlas Hands” and “Shine” – both from his Top 40
    debut Last Smoke Before the Snowstorm – were infused with a charming wistfulness, and the
    yearning for sweet escape. Fans and critics alike were struck by this new artist’s disarming
    honesty; his lyrics were lauded for their candidness and vulnerability.
    On Some Things Break, Leftwich’s fifth album, it’s as though you’re hearing his mea culpa in
    real time. This is the soul-baring of a man who’s been through it all, and lived to tell the tale, now
    with a brand new perspective on the things that matter. Leftwich is now five years sober, having
    struggled with substance abuse following the death of his father, before meeting someone who
    helped him turn things around. “We fell in love, she came on tour with me around America,” he
    says. “She was the kindest person I’ve ever met.” When that relationship ended, he booked
    himself in for treatment and got sober himself.
    Through the darkest times in Leftwich’s life, he’s been lifted by the people who taught him to
    hope. “Any day now, I swear, the sun’ll come up/ Broken heart’s gonna beat again,” he sings on
    gorgeous lead single “Break in the Weather”. As the track builds, so too does his resolve: “Don’t
    you give up/ The light’s gonna shine on everything.” There’s a timeless, expressive quality to
    Leftwich’s singing style, redolent of Frank Sinatra or Edith Piaf; each piano note lands like those
    rays of light bursting through clouded heavens, bright and full of promise.
    “I feel like there’s nowhere for me to hide on this record,” Leftwich says. “I’m proud of so much
    of my earlier work, but trying to replicate that now would feel very obsequious and fake. I’m
    proud of this – it’s from the heart.”
    Indeed, on many of these songs, it’s as though the words are being wrenched from his body.
    He’s weary on “Moon Landing Hoax”, a Billy Joel and Randy Newman-indebted ballad on which
    he sings over filigrees of piano (performed by The 1975’s longtime keys player Jamie Squire).
    Mingling sentiment and cynicism in a sandpaper rasp, Leftwich sings: “I try to forget who I
    thought I should be/ I’m burning it up at a thousand degrees/ If time is a healer / It’s patient with
    me.” He wrote it while “feeling fried” during a session with Squire: “I was thinking about how
    young men can get into all sorts of mad shit, which is something we need to be aware of.”
    Perhaps the most surprising moments on the record come from the more pop-leaning tracks,
    such as “God’s Best”, with its swift melodic undercurrent and vocodered backing vocals, and “A
    Love Like That”, taking its cues from the Bruce Springsteen pop-rock school of euphoria.
    Leftwich credits his willingness to experiment on his collaborations with emerging talent, such as
    The 1975, Nick Mulvey, Holly Humberstone, CMAT, Jasmine Jethwa, and Rachel Chinouriri.
    “Working with so many brilliant young artists has been so inspiring to me,” he says. “They’re all
    so switched on, so every session is like opening a chest full of treasure.”
    When he began writing for this new record, Leftwich was keen to sing from different
    perspectives than his own. Some Things Break opener “I’m Always Saying Sorry” is a cri de
    coeur, like nothing he’s done before, told through the eyes of a student caught up in a cycle of
    nihilism and self-destruction. “It was a story I’d heard of this lad at uni in damage mode, living in
    a shared hall,” Leftwich says. Finding himself buried in classic tales such as Anna Karenina and
    The Count of Monte Cristo, he realised he was being drawn towards a new lyrical style. “I’d
    been caught up in this thing for so many years thinking every song needed to be about me,” he
    says. “But then I started making up stories about other people – I loved it.”
    Listeners will also notice a newfound immediacy in Leftwich’s writing. The title track, “Some
    Things Break”, was written just a week after the end of a meaningful relationship. “I think the
    catalyst for this entire album was an engine of heartbreak around my life,” he says. You hear it
    in the music – the tender piano notes that rise and fall like cresting waves onto the shore – and
    in Leftwich’s low, accepting lament: “That’s alright, some things break/ We gave it time, we gave
    it grace… And if it helps, I’m always gonna be in love with you,” he sings in the hushed refrain.
    “And if it helps, I’m always gonna be in love with you.””
    It’s a song of both grief and acceptance; the pain of letting someone you love go, tempered by
    the knowledge that it’s the right thing for both of you. “There have been times I’ve held onto
    something because I’m scared of being alone,” he admits. “You need to be careful of that.”
    Longtime fans will recognise this determination in Leftwich to face his demons. Following the
    death of his father in 2013, he found himself holed up in his old house, embarking on a period of
    self-annihilation. This ultimately led to the release of some of his best work, 2016’s After the
    Rain, praised by The Guardian for its “fragile, precious” songwriting. “Tell me why you’re picking
    up on everything that's going wrong?” he questioned over the trembling synths of “Kicking
    Roses”, then: “Shooting for the moon, the gravity is hanging on/ You try to deny what’s inside/
    But the beat of your heart is paralysed.” He swam into the murky depths of “Cocaine Doll”,
    enveloped by strings emulating mournful whale cries, and wintry guitar notes, bitter as frost
    settling over sand. On the devastating “Groves”, he uttered a final farewell to his father, unable
    to prevent the heart-rending plea: “Don’t go/ I need you to be waiting for me/ Every time I’m
    home.”
    On Some Things Break, we hear him speaking to his father again, now with time soothing the
    sting of his grief. “Spokane, Washington” is a Dylan-esque trip down memory lane, intertwined
    with love and surprising moments of humour. “Hey Dad, how you doing? We ain't spoken for a
    while,” Leftwich begins, “Nothing much to tell you, but I think I’m doing fine/ Maddy’s getting
    married to a woman that I like/ London’s still the same, nobody smiles.”
    Written out in Nashville with renowned songwriter Mikky Ekko (Rihanna, Chloe Bailey, Olivia
    Dean), it was recorded with the bare minimum of studio equipment, resulting in its endearing
    and unpolished live demo sound. The memories, too, aren’t brushed over with a flattering filter –
    they’re raw and real. “I’m always trying to get back to that childlike, wide-eyed thing that I had on
    my first album,” Leftwich says, “where I was a kid and I didn’t know what I was doing, but I was
    less jaded. There was an earnestness there.”
    By closing tracks “Only You” and “Don’t Give Up On Light”, no one will be able to doubt
    Leftwich’s sincerity. On the former, we find him wandering the streets of London, set against a
    soundscape of sprawling acoustic Americana. “Don’t Give Up On Light”, meanwhile, is a
    message of hope for whoever needs it, sung with the conviction of a man who’s found his own
    way out of the dark. “This album is me saying I’m no longer scared of saying ‘I love you’,” he
    says. “I can finally ask someone to be patient with me. I’m more honest, and less afraid.”
     
  • Elanor Moss

    Elanor Moss

    Indie Pop

DHP Presents

Benjamin Francis Leftwich

Tue Feb 22 2022 7:00 PM - 10:00 PM

The Bodega Nottingham
Benjamin Francis Leftwich
  • Event Cancelled.

Ages 14+

Support:
Elanor Moss
Wounded Bear