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Ahead of his show at the Castle Hotel on 16 February, Hey! Manchester catches up with Portland guitarist and composer Ryan Francesconi to discuss his guitar style, Joanna Newsom and what we’ll be ordering for him at the bar…
Hey Ryan, how’s your year going so far?
Well, so far it’s great. All 11 days of it. This tour is the kick off event of the year! I’m replying to your questions here on United flight 928 en route to Europe from Portland. [We should add that this epic response was written via iPhone... Ryan joked of getting 'touchscreen tendinitis' and having to cancel the tour.]
Is this upcoming tour your first solo visit to Europe? Are you looking forward to any cities or venues in particular (you don’t have to say Manchester!)?
No, I’ve done some one off things and smaller runs – but this is the first proper tour doing the solo guitar Parables music in Europe. I’m happy with all of the events and cities – in particular, getting to spend a bit of time in cobbled Flandrian Belgium is always something to look forward to. Aside from a tiny house show in Ghent (I love that sort of thing) and a great show at the AB in Brussels, I get to be in the holy land of bike-racing shortly before the spring classics season begins. I’m there just a tad early to catch any races unfortunately!
To begin the tour, my girlfriend and I will take the train from Budapest and head west. That will be a magical snowy old-world adventure of sorts. Or… a suitcase dragging over icy cobbles, trudging through freezing rain, lugging a too heavy guitar case on my back, getting lost in southern Bohemia. I’ll let you know which happened when I see you.
You’re also joining Joanna Newsom for her continental Europe tour this month. How did you come to work with her?
We’ve been collaborating since 2006. We’re both from northern California and had met previously at a folk music camp in 2005. I was really impressed by her improvisation ideas over a few jams we had. I hadn’t heard her songs before, but they later became the soundtrack of that summer. We kept in touch, then the following summer she had an idea for a folk band ensemble to perform the material from Ys. It was the first time she had decided to put together a band and she wasn’t expecting anyone to play the Van Dyke scores… but that seemed like a fun idea to me, so we gave it a go. I kind of by default ended up the caretaker of complicated challenges after that. And there have been many! I’ve kept rearranging all the scores and writing new ones since depending on the touring lineup.
You may already be familiar with FUC51 – the blog that popped up earlier this year to poke fun at all things Madchester and Factory. Their writing is witty, their sources anonymous – just like the writers of the blog itself. But Hey! Manchester thought we’d ask them what it’s all about anyway…
Basics first: who are you?
Stephen Morris and Cressa. Some twat out of Northside probably. That guy with dreads who used to do ‘Wonderwall’ outside Boots on Market Street.
You set up FUC51 back in January. Was there a particularly terrible experience that prompted you to do so?
Nope. People tend to assume we emerged intentionally at the same time as Hooky re-opened the doors of the old Factory offices, but really, that was just a fluke on our part and proved incredibly useful in terms of interest around Manchester and music.
‘Manchester’s New Order’ is what Dazed witly calls the current crop of local bands. Four of these great new hopes feature on the debut EP by Love & Disaster, a Manchester label with big plans. We asked founder Dan Parrott to explain more.
What inspired you to start a label now – and why 10-inch gatefold?
I have been involved in the Manchester music scene for a few years now, and I think the idea for the label comes from the fact that I have seen a recent and distinctive lack of cohesiveness in the new Manchester representing itself to the outside world. People say this every year but I genuinely do believe that it is Manchester’s time to be at the forefront of the UK music scene again, with a collection of amazing new bands whose sights are set only towards the future.
I would like to think that our first record is how we mean to go on, and is hopefully more than the sum of its parts. The bands are all at different stages of their careers but it was a mutual respect and friendship that pulled them together. The decision for who was on the record fell to the bands as much as me. Hopefully this EP puts the spotlight on these artists as well as the city and for the right reasons, not falling into the usual Manchester cliches. Most of these guys were too young to go to the Hacienda anyway so they don’t even feel the need to try and ‘swear they were there’ – they were busy watching Blue Peter or something.
Having spent a year and half touring as a non-permanent member of the Shins, as well as working with Vetiver, Eric Johnson has recently returned to his own band Fruit Bats, with whom he has recorded and released the well-received album The Ruminant Band. This coming Thursday, 17 December, Fruit Bats visit our fair city and hit our favourite subterranean nightspot the Roadhouse – so we caught up with Eric.
Hello Eric. How are you? How’s your day been?
It’s going well – though right now I have not left the Travelodge Nottingham. But I’ve got coffee on the way, which is going to start my day off. We’ve been touring a bunch in France and Spain and although I love the espresso there, I like the British/American tradition of a nice large cup in the morning.
How is your current tour going?
It’s been great! We’ve been mainly touring in southern Europe with Vetiver, who are our dear friends (and make amazing music). So it’s been one long sweet mellow hang. We’ve just begun the UK portion of the tour without them. The first two shows have been amazing. I’ve been pretty surprised by the turn-outs, in fact.
