« Corkboard: What bar has the best Preakness celebration? | Main | Speed networking at Milan tonight »

March 31, 2010

Q&A: David Gray, who plays his first Baltimore show tonight

david graySinger/songwriter David Gray has released eight studio albums and toured for close to two decades.

For some reason, Gray's never played Baltimore. Tonight's show at the Lyric Opera House will be his first concert in Charm City (get tickets here).

The throaty Englishman paid for his latest album, "Draw the Line," out of pocket, and collaborated with Annie Lennox. 

Here, Gray talks about recording with an orchestra at Abby Road Studios, Louisville Sluggers and getting crap from haters at bars ...

What’s going on, David?

I’m in Louisville, Kentucky, in what you would describe as a boutique art hotel. It’s not something I would put together with Kentucky, but it’s very nice. There’s lots of ironic and challenging pieces of art everywhere.

Sounds fun. Are you going to get a baseball bat?

I’ve been given one of those on a previous visit – a Louisville Slugger.

Those things always seem like such great ideas at the time, but they always end up in a box underneath your bed.

Yeah. I have scant opportunity to use a Louisville Slugger. If someone were to break into my house, it’s the ideal implement to smash his head open.

Have you ever played Baltimore before?

No, this will be a first. I like firsts. I’ve been in D.C. most of the time.

Journalists like me love saying things like, ‘It’s the first time you’ve ever played here.’ But does that really matter to you?

Yeah, of course. I’m all for new experiences. It matters as much to me, wherever I am. There are no preferred venues. I’ll take the crowds as I find them.

david grayFolks can get pretty loud at your shows. Since some of your songs are more acoustic, do you ever secretly wish the audience would be quiet and just listen instead of screaming and going nuts?

I want both things, basically. ... I want the energy and I want the intensity of that quiet attention as well. The show takes in both aspects. There are big very melodic -- almost anthemic songs and quiet, introspective, thought-provoking pieces that strive on this intense silence. A perfect gig has both those things going on.

"Draw the Line" is a big sounding album on the whole, but there are songs where you really went all out. Tell me about how a song like “Full Steam,” which you did with Annie Lennox, came together.

That song stands alone because it’s got such a huge arrangement. Some songs are just aching for orchestration, and this one had that feel to it. It was like something from the Righteous Brothers catalog – at least that’s what’s going on in my head, anyway.

We did the strings at Abbey Road, and spent three or four days arranging them with the arranger beforehand. We were changing the arrangements right down to the very last second. It sounded different in the room with real thing. We made this massive track and then we had to find the other vocalist. We broke it down to a short list and sent the track out. Annie was the first got back to me.

We needed someone who could really, really belt it out and sing with a certain presence, to hold up against my voice, which is loud and abrasive and dense. We needed somebody who could handle that and she was just perfect. The combination was perfect. She was a joy to work with.

She gave us more than just the vocal parts I'd worked out for her. She came up with other little bits and pieces that really lifted the feel of the track, made it much more pop, which I think is a good thing. It's like adding a bit of egg white to the mix -- it lightened the whole thing. The lyrical aspects weren't as immediately obvious. You're carried along by the verve of the performance. You're caught up in the melodies and the movements rather than dwelling on the rather dark lyrics. The lyric comes like a Trojan Horse. That was a triumph, getting Annie involved.

What's it like to stand in a room while an orchestra plays your music?

It's a big deal. It's a big deal. I paid for this record myself. If you think about the financial commitment to get a full orchestra, brass, tympani, vibes, harps, everything in a room together, and you're spending however many thousands of pounds to get the main room at Abbey Road because it's got all those beautiful microphones and all those nerdy engineers who know what they're doing, it's a big deal.

We nailed the last part of the take with one minute left on the clock. We had a four-hour session with the strings, and if you go over that, you start paying everybody overtime. It was nerve-wracking. 

david grayPeople have said you're going for broke on this one.

It's a giant act of folly to spend any money making a record these days. If, in 2007, I'd realized how far f---ed things were going to get on the dial, I would have probably thought twice about it.... If you've got resources, then what else is there to do but stake everything on what you're doing? I don't believe in the safety option. I believe in risk. I like it. I like the taste of fear and total commitment. I don't like the safety blanket.

How do you approach songwriting now as opposed to when you were, say, 25?

When you're young, it's easy to get over excited. You get high faster, you get down faster. I'd be more patient now. I'm more scientific. The last wisps of the mist surrounding the creative process, the trailing vapors are banished from my creative world. I'm interested in the hard facts of doing it. Turning up, and opening yourself up, at least with a can opener, and seeing what comes out. That's my day. Some days you don't get anywhere. But generally, if you plug away long enough, something will happen.

I would assume that people on the street come up to you and mostly have nice things to say. But have you ever had people come up to you and say bad things about your music -- as though they felt like they owed it to you?

(laughs) I've been out when people have been drinking, and I've had people come up to me and give me s---. So, I have to say, yeah. 

What do you do? Do you give it back to them?

When it first happens, you're in a state of shock. I'm just public property and people can abuse me as they see fit. Now, I try and take everything with a pinch of salt. You need a thick skin. But I don't know if I've got one. I'll keep going and if I'm not going to get that critical pat on the back by some f----g know-it-all, I'll persevere. I think I know my onions. I know when my s--- is good.

(Top photo by Getty Images. Bottom photos by Phil Knott)

Follow Midnight Sun on Facebook and Twitter @midnightsunblog
Posted by Sam Sessa at 1:24 PM | | Comments (6)


I was 9 rows back at his show last night, and it was stellar, so much energy in the room and he really delivered. Yeah, there were a few people screaming at "the quiet moments" but it wasn't too bad. I would definitely see him again and loved The Lyric as the venue...

First time in Baltimore--not true! I saw him back when I was in college and he opened for Shawn Colvin-- they played the Meyerhof. Aftewards, I ran to Record and Tape Traders and bought both of his albums at the time.

But really, who cares, its his first time headlining-- welcome (back) to Baltimore, Hon!

I was at the show last night as well. I stayed for about an hour, nothing against him but I was at Wilco the night before so I was a bit spent.

However David sounded amazing and the crowd was great too. There were people standing up after every song as if he had just finished the encore. I was actually surprised how full the room was, I knew a lot of people would be there but it looked pretty much sold out.

It's really great to see how hard work put in by an artist truly pays off. Another favorite part of the show for me was waiting for him to take the stage because the music being played was pretty great.

I always want to believe that the artist puts together the tunes and as you know a mixtape can really serve as a window into somebody's mind. There were some great 60's Doo Wop songs, Lennon's "Cold Turkey" (Which I got to hear a kid asking his mom "What does cold turkey mean?"), The Cure's "In Between Days" and The Magnetic Fields' "Absolutely Cuckoo".

I guess it's the DJ in me that makes me geek out about that

Last night was the second show on this tour I've managed to see - the first was incredible, and last night was the same in effect, but totally different in presentation. The audience at the first show was more 'animated' (the venue not quite as plush) and that helped, in my mind, as last night I was dying to get up and move but that didn't seem to be the 'thing'. Never mind - even sitting the show was fantastic. And the difference in presentation - totally revamped order to the set list, let alone numerous different tunes from one show to the next, and the insertion of the 'acoustic set' that wasn't part of the first show. 'Full Steam' worked well, I thought, and 'Nemesis' - which was also in the first show but part of the encore so essentially the lasting memory of the show - is a moving experience. Can't wait for another chance to see him!

Just recently saw David in Wallingford Ct (not England) at the Oakdale Theater. What a great show ....this was our second time seeing him. The band and David seem to have such a great time. I am hoping to see him in August in Boston Ma.....would love to to see him in Limerick Ireland are a little expensive:) I have never posted on an artist "page" and I have been to a ton of concerts but this guy is just GREAT!!!! thought I would say my peace.....Peace thanks Jennifer

There was definitely a quiet but exciting energy in the room and it was cool. You know you're talented when people are cheering on when you are silent and controlling the stage.

Post a comment

All comments must be approved by the blog author. Please do not resubmit comments if they do not immediately appear. You are not required to use your full name when posting, but you should use a real e-mail address. Comments may be republished in print, but we will not publish your e-mail address. Our full Terms of Service are available here.

Please enter the letter "w" in the field below:
About Erik Maza
Erik Maza is a features reporter at the Baltimore Sun. He writes for several sections of the Sun paper and contributes weekly columns on music and nightlife. He also writes and edits the Midnight Sun blog. He often covers entertainment, business, and the business of entertainment. Occasionally, he writes about Four Loko, The Block, the liquor board, and those who practice "simulated sex with a potted palm tree." Before The Sun, he was a reporter at the Miami New Times. He's also written for Miami magazine, the Orlando Sentinel, the Sarasota Herald Tribune and the Gainesville Sun. Got tips? Gripes? Pitches? He's reachable at Click here to keep up with the dumb music he's listening to.

Midnight Sun covers Baltimore music, live entertainment, and nightlife news. On the blog, you'll find, among other things, concert announcements, breaking news, bars closings and openings, up-to-date coverage of crime in nightlife, new music, round-the-clock coverage of Virgin Mobile FreeFest, handy guides on bars staying open past 2 a.m. on New Year's Eve and those that carry Natty Boh on draft. Recurring features include seven-day nightlife guides, Concert News, guest reviews of bars and concerts, Wednesday Corkboard, and photo galleries, as well as reader-submitted photos. Thanks for reading.

Most Recent Comments
Recent tweets
Sign up for FREE nightlife alerts*
Get free Baltimore Sun mobile alerts
Sign up for nightlife text alerts

Returning user? Update preferences.
Sign up for more Sun text alerts
*Standard message and data rates apply. Click here for Frequently Asked Questions.
  • Weekend Watch newsletter
Plan your weekend with's best events, restaurant and movie reviews, TV picks and more delivered to you every Thursday for free.
See a sample | Sign up

Photo galleries
Stay connected