Interview with Bang Fanzine
see all interviews

Haigh Hall Music Festival special edition - June 2003

John Togher chats to Manchester Singer-Songwriter Darren Poyzer ahead of the Haigh Hall Wigan Music Fest ...

JT: You are well known to be constantly gigging and God knows how many gigs you have performed over the years, where does the inspiration come from to gig as often as you do and carry on doing so again and again?

DP: I honestly don't know where the inspiration and energy to do this comes from, and I guess I don't want to know. It's like love - as soon as you can explain it, label it and predict it's progress, it stops being special, passionate and magical.

The closest I've come to explaining some of it it I suppose came around '98 and '99 during therapy. I looked back at a childhood when I had lost 2 baby brothers and my Dad before I was 10, with chronic disability in two instances, and how it ripped our family home to emotional shreds. My writing and singing could well be a replacement for all the screaming and the anger I was infused with during that time.

JT: Much of your songs are seeped in the 'real' world that the government hardly accept exists - or know about but don't help - how many of the tales in your songs are based on real life events?

DP: 'SUBSTITUTE FOR HOMESICK BLUES' is a straight forward snippet of life story put to music. 'REWARDED FOR VIOLENCE' is part me and part general overview of a guy who comes back home to his family following an outbreak of war. Then there's the chirpy 'BEST FRIEND' which although flippant and comical in places, is the story of my real-life long-term relationship seen from a cute angle. Or should that be 'acute'?!

'SOMEONE FOR ME' is a true reflection of my recovery from mental illness tinged with a yearning reclamation of faith in humanity and some things spiritual.

If there's one that stands out as a less personal story I suppose it is 'BUSKERS', but even then there's something in the way it's written that intends to appeal to everyone. Well not everyone, but everyone who's gone shopping on a small budget and felt closer to the Busker playing for pennies, than the corporations who've taken control of consumer necessities.

'CUCKOO' and 'JULIE RAINBOW' are songs about a woman but no one woman specifically ... they both take a female character and bring her to life using lyrical twists and outlines.

JT: The epic 'Beaches...' is a song I often quote as one of your best for its global scale yet being seeped in human reality, I understand it was originally called 9/11, how did the events of this day effect you personally and with regard to your song writing?

DP: It's now called 'FROM THE BEACHES OF IBIZA TO THE SHORES OF VIETNAM'. I changed the title from '11/9/01' because I realised this is actually my September 12th song. It was more or less written the day after the towers were destroyed, when I sensed every jackass racist bloodthirsty red-neck sparking up with an excuse to massacre and repress anyone they choose in the name of 'justice'. The genuine grief of nations was stolen and abused by right wing politicians, dictators and invisible decision makers, and this has led to an unchallenged and dangerous cycle of violence at a crucial time in our history.

Personally, I guess I've looked a little deeper at how individuals keep faith in human nature during such tragic times. I've tried looking inwards, questioned the so-called God yet again, and like many I've looked with greater concern at the immediate surroundings of my loved ones and family cocoon. I feel grateful for our safety and the peace we have, but have kept hold of the reasons why we have that peace - it's because throughout history, warmongers like Blair and Bush, and murdering dictators like Saddam, have been opposed at every opportunity by every single person with an ounce of self-respect. That opposition must go on, and it counts for something in every human being.

That's why I've recently had greater courage to become more outspoken on this particular issue. There is a serious imbalance here, there and all around the world, and that has come about because the most powerful nation has turned lies, corruption and mass murder into an acceptable choice for the popular vote. Many people are starting to accept this bollocks that families in foreign lands must be slaughtered and oil must be controlled by corrupt Western corporations in order to preserve their way of life, and it's just not true.

The battle for hearts and minds is still being fought on many levels, and one of those levels is right here in the music clubs and venues of the North of England.

I never intended to write 'Beaches' so that I could go out and express the anger of so many in such a way. Indeed, I cried my f*cking eyes out when I was writing it, and it's unbearably intense debut performance was made with tear swollen eyes and a very dry, trembling emotional voice.

If anything, it's a song that has changed the perception of those who have seen me play over the years. I am now seen as a political songwriter, even a "militant" as one writer in a Manchester magazine suggested. How someone expressing anti-war sentiments can be described as a militant is beyond me, but it shows how the opinions of the fashion police have been allowed to suppress human emotion and compassion, without so much as a "what the f*ck?" from people reading it.

JT: Who are your musical influences?

DP: Paul Weller was the first to show me the power of words, music and guitar. During his time with The Jam he wrote songs as mighty as 'GOING UNDERGROUND', 'DOWN IN THE TUBESTATION AT MIDNIGHT' and 'STRANGE TOWN', and yet still created moments of real beauty with 'ENGLISH ROSE' and the slightly more cynical 'BUTTERFLY COLLECTOR'.

During recent years, and this isn't bullshit, my inspiration has come from all those who like me, are playing the singer songwriter and local band nights and doing so with their heart on their sleeve for all to see. If I was to name names right now Wigan side, I am always moved and inspired by a Simon Fox gig, whereas Nancy Cunliffe slices me open then wraps me in cotton wool.

And I must pay homage to the non-musicians, the genuine promoters and music lovers who support live music in the smaller towns and venues. Ultimately these are the people we play for, and we are the ones they have taken their time to support.

JT: What is it about the acoustic sound that you love?

DP: The honesty.

JT: Favourite venue to play?

DP: Difficult one. I've had my favourites but then it only takes one lousy gig to put me off a place. There's always The Witchwood I suppose as I was one half of the duo that created the place back in 1988, but I've had a couple of lousy gigs in there to spoil the illusion.

Strangely enough though, I'm tempted to say a little pub called THE BLAZING RAG in Mossley, near Oldham and Ashton. It's where we've run an Acoustica songwriters night for nearly 4 years now, yet it's never an easy gig to play. It's been a challenge and it's kept my feet on the ground on many occasions!

JT: Is Tony Blair a liar?

DP: Yes - aren't we all.

As to whether he was genuinely honest with the Attack on Iraq, I know very caring and intelligent people who were truly supportive of Blair's stance on this. The thing is though, his reasons for pushing this through are being shown to be false, which is something the anti-war movement was stating all along.

As to whether there were genuine reasons for removing Saddam, those reasons have been screamingly evident for over 20 years. During those murderous years, Saddam has been actively supported by our Governments and not once did Blair acknowledge this and accept, on behalf of this country, the US and many others, our own part in the creation of the monster.

The most dangerous thing with Blair is that he is a Labour Party Prime Minister who gives not one toss for what that is supposed to mean. He is Tory through and through, a well groomed fake - kinda like a high nicotine cigarette dressed as a Sherbet Lolly, he promises sweetness and light yet sneaks places his own finger on the button of death. He just needs to f*ck off before The Labour Party, its values and dedicated course for social wellbeing, are lost forever behind his sorry excuse for American Republicanism.

JT: I saw that you were very vocal on the anti-war subject, how much of this stance comes from your own experiences in the Falklands?

DP: Yes, a lot of it does stem from those experiences although not in the cliched sense. My focus of anger comes with the way we as children in schools are brought up on the glorification of war, conflict and military strength. It's very easy therefore for someone who has a difficult childhood to seek escape via the 'cash in the uniform pocket' and travel opportunities of the Armed Forces.

We are told the job is defence, and yet in recent conflicts we appear to have been ordered to attack even though there is no conclusive justification for such horrific loss of life.

Then there's the coming home. It's all victory and salute, and for thousands of young boys and men arriving home in a state of trauma and shock, the nationwide celebration of bloodlust is just too much.

JT: What do you think of Wigan's current music scene?

DP: It's great. And even though it's more than just The Collective now, I do think The Collective has the most important pivotal role to play. Of course I remember Wigan when The Volunteers and The Tansads were about, though not the days of Wigan Pier!

I was even quoted in that book that Ed Jones of The Tansads wrote. Some rant along the lines of "You'll never play Ashton Under Lyne ever again". I was right though, they never did ...

Wigan is a town steeped with a music tradition and a vibe that I hope will be passed on and bastardised by many bands and brand new rock'n'roll freaks for many years to come.

JT: Any comments about the message board debaters who have been in discussion with you?

DP: We give it out and we take it. Message Boards are like close family - you know you can dish it out without having to get into a serious ruck and deep down, you kinda appreciate a sounding board that doesn't kick your head in when you're letting off the steam of a bad mood.

JT: On the subject of Wigan Singer-Songwriter Clown Prince, it was suggested to me by a colleague and this is his question to you ... What advice would you give Jimmy O'Neill in order for him to be accepted into Wigan's hearts?

DP: It would be a little arrogant of me to speak for, or about Jimmy, too much. He's kinda chosen his own path and put both feet into it. That's his independence and personal brand of free spirit. Personally I don't believe he's a bad man, though I've read some of the things he's had to say and am concerned as to why he doesn't appear to see the pain and discomfort mere words can cause.

And of course I don't know him too well, having only briefly met him once. I've heard his songs, have enjoyed them, and have found his sense of humour at times to be verging on brilliance. To me though, knowing where the line is drawn between humour and insult is what separates a conscientious writer who is admired from a clown who is ridiculed. I think Jimmy's listening and learning all the time, so more than my advice, maybe he just needs a bit more time ... either way, he will do what he will do, he is his own man and will no doubt stand by the courage of his own convictions.

JT: Can the protest song still raise awareness like it used to and did it ever work in the first place?

DP: Yes and yes. It's the battle between good and evil, it's real, it's been with us and will be with us for ever.

The protest song is the song that speaks for the victims and gives strength to the weak so that they may survive. And it is those who have lost yet survived who remind us how precious is life, whilst the victorious do no more than glorify the conquest.

Some say that the victorious write history, and yet our history is steeped with protest song and sentiment, passed on and cherished by generations. Just because the average bloke and woman might not know a protest song from their arse, they do know that their welfare state and their human rights have come from somewhere, and that somewhere moves to the beat of the protest song.

I remember one of the first protest songs I heard at a poetry night in Bradford. In fact, it was recited as a poem, and was written and performed by NICK TOCZEK. Entitled 'STIFF WITH A QUIFF' it pin-pointed and crucified the pitiful coward that is the wife beater, and was the first real piece I'd heard that challenged accepted life in my home town. To this day I can still hear Toczek's rousing, spitting, vitriolic finale - "THE PISSED UP PISSED UP PISSED UP PISSED UP BASTARD BASTARD BASTARD BASTARD!"

JT: Would you agree that the majority of people today have lapsed into an apathetic state of mind with regards to social and global issues?

DP: I think people are constantly being pushed into a state of comfortably dumbness. Technological advancements and the development of more sophisticated population control are being processed by the powers that be all the time, and music is an important tool used by both those who wanna turn people into dumb work horses and those of us who would rather bring the downtrodden backstreets to life.

Hence the charts and 'popular' music, the puppeteer's vomit that is lapped up by the masses. How f*cking revolting!

As is Television. Millions live their lives and have their social and moral values based on one dimensional TV characters who feel no pain, know not of death nor drip one bead of poverty's stench. It still amazes me when 'the working class' look so shocked when they are made redundant because there's no work, yet they've lived their lives through the glass of the pint pot and tv screen. Wake up People for f*ck's sake, they're running the country down and we're all going to drown!

JT: Looking forward to playing Haigh Hall festival? Who will you be checking out there?

DP: Of course I am. It's a day when you've got to be at your biggest and best so I'll be having a go. I'll be checking out as much as I can and I'll be down early. I've not seen BEN WOLLAND yet and will make sure I do on this occasion, for he has a very focussed non-pop intensity in his music that I find intriguing.