Tom Cunliffe is originally from London, but grew up down south. He says he came to Wellington just when he needed to. “I met the right people at design school. Kind and crazy. People who hung animal fat from the ceiling and built coffins out of rice. We learnt how to make sense of weird ideas – and turn them into a degree,” he says.
When and how did you first get involved with music?
I started out playing late-night open-mics along Cuba St. If you were lucky you’d get on before 10.30pm when there were still a few ears about. It was a great training ground. You had to really battle through to capture an audience. Sing something that would stop them talking. Afterwards I’d go have a lonely victory coffee at Midnight Espresso. That was always a good coffee.
How did you first meet Ebony Lamb, who you’re touring with?
I’ve known her for years. I think we probably first met when I was opening for Reb Fountain on her Hopeful and Hopeless tour. Eb took a few weary singers in and gave us beds for our Wellington shows. I remember Ebony had fresh bread rising beside the fireplace – long before sourdough went mainstream.
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What was the inspiration for your latest album?
I just wanted to create something beautiful. I was writing a lot about the nature of time and wanted to build a world that seems to stretch on forever in every direction, with language stolen from now as well as way back when. To me, it’s a 3am album. The music for people who can’t admit the party is over. So they put on something slow and talk about the meaning of life and forget everything they’ve said the next day.
What is your creative process when writing/recording music?
I used to write all the words first, then fit the music to the lyrics. Now I capture the scene, figure out the language, and get the heart of it – then I start on the music. Once that happens the words can change but what I’m saying pretty much stays the same.
The arrangements for this album were worked out in a four-week Covid-enforced exile in Titirangi. I was playing around with little drum and string samples.
How else do you support yourself?
I pick up contract work as a copywriter. I could be writing supermarket taglines, websites for start-ups, or feeding the insatiable social media beasts. I’ve done some writing for the LA Philharmonic and even a cannabis company over in California. At the moment I’ve got a good gig writing jokes about hamburgers, luckily they’re an inherently funny food.
If you were prime minister for a day, what would you do to improve the arts?
I’d subsidise rent for the smallest venues. The ones with the worst toilets, ambivalent bar staff, obscure playlists, tiny stages, and not enough light to take selfies.
Why is it important that people back local artists?
Because by the time international bands get to New Zealand you’ll never get to see them at that famous first show. When there’s 20 people in the audience and you’re so close you can see the whites of their eyes, and smell the hope on their breath.
Who is your favourite artist?
Bob Dylan.
What is the best piece of career advice you’ve received?
The man who chases two rabbits catches none.
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