Winchester 7, the creative visionary behind the iconic indie ukulele rock sound, has spent a career crafting compelling releases. With a talent for blending reflective narratives with enchanting melodies, rich vocal harmonies, and those unmistakable ukulele tones, Winchester 7 has carved out a unique space in the music world.
Hailing from Georgia, this lifelong musician, songwriter, and global collaborator has consistently connected with listeners by blending real-time musicianship with genuine storytelling. With a reputation for integrity and a relentless work ethic, Winchester 7’s music resonates with both skill and sincerity, a quality that has only grown since his 2019 EP, ‘Beyond the Dome’.
A pioneer in his genre, Winchester 7 has recently announced his upcoming solo album, ‘Postcards’, set to drop on July 7th this year. To celebrate, we spoke with Winchester 7 to learn more about this significant new chapter, the unexpected twists and turns of its creation, and the unique collaborations that shaped its sound.
Thank you for taking the time to speak with us today, it’s a real thrill. The new album is set to be a bold new step for you. Can you tell us a bit about ‘Postcards’ and what it means to you?
“’Postcards’ is my first solo release. I’d done an interview during the promotion for my band, Winchester 7 & the Runners’ last release ‘The Waking Giant’ during which I was asked about future plans. I sort of, off-handedly, mentioned that I’d been thinking about doing some solo work.”
“Honestly, my intentions were completely innocent in that the band, and I had talked before about my desire to do something more experimental than the usual indie rock that I’d been doing with them. But, I guess, it didn’t come off as innocent when the band heard about it. Worse, that all boiled over into the press thanks in large part to hackers leaking our band’s video conference and some voicemails.”
“Once the dust settled though, the band and I agreed that I’d do the solo record, but also allow them to contribute. So, our bassist, Phil, still plays bass on the record, but our drummer, Jack, ended up taking a turn in the producer’s chair allowing me to bring in some different beats courtesy of Ise of Wight-based, Coach Party drummer and mix engineer on this record, Guy Page. The record also features other collaborations on it including some great vocals from Airinna Namara on ‘Still Waters’ and ‘Ride That Pony’ and Jade Fortune on a cover that I did of The Lottery Winners’ track ‘You Again’.”
‘Postcards’ features some international collaborations on tracks like ‘Still Waters’ and ‘You Again’, bringing together artists from Malaysia, South Africa, the UK, Netherlands, and India. Could you walk us through the collaborative process for these tracks? How do you bridge geographical distances and diverse musical backgrounds to create such cohesive pieces?
“Yeah, it didn’t start as my intent or anything, but at a certain point I think I stopped and realized just how global of a collaboration it had become. Process-wise, I think it’s all sort of a production management thing both in how my initial ideas adapt to changing creative needs and in getting it all to work.”
“Like most things, it started innocently enough. I wanted some different beats to separate the album from my work with my band and have an affinity for all things British. So, I went in search of a brit drummer and found one who could do mix engineering too. That latter part was also a change, but given Guy’s involvement in the project, it seemed to make sense. Maybe I have a thing for multi-talented drummers…”
“Anyway, then I wanted a female vocalist for my Lottery Winners cover, ‘You Again’. I had a certain sound in mind and, ultimately, found Jade from South Africa. Then, it needed keys and I have a friend of Indian descent who I’ve worked with and he thought he was up to the job. He did quite well, I think. Thank you very much, Ramesh.”
“Finding Airinna for ‘Still Waters’ happened in a similar manner. In fact, I liked so much of what she contributed that I also asked her to add some backing vocals to ‘Ride That Pony’.”
“I suppose it’s all something that I’m quite used to, really. The Runners and I are all from the same place, but after we travelled around a little developing our sound, we each settled in different places with Jack in the UK and Phil in and about Amsterdam. So, yeah, video conferencing is terribly helpful when it’s not being leaked by hackers.”
“From a cohesiveness perspective though, that’s where the real production management comes in and I think that Jack, in his producer role on this album, probably smoothed things over more than I’m fully aware of. But, I think to make it all work, you have to have a defined creative vision, be able to clearly articulate what you’re going for at the outset and in ensuing feedback; and, perhaps most importantly, be comfortable with not having one’s hand too firmly on the wheel.”
Considering the global nature of your collaborations, what have been some of the most unexpected or rewarding aspects of working with musicians from different parts of the world?
“We’re all musicians, so I like to allow some creative freedom and just go with some things that I may not have initially expected. Like Airinna added these “woo-ooh” vocals on Still Waters and that’s something I’d never do myself. But, it felt authentic and I appreciated that it was again different from what I’d usually do. So, I went with it!”
“Similarly, on ‘Holiday’ when I was recording it, I wasn’t terribly happy with my final few chords of the outro. So, I paused and just played it again and then once more with the idea of picking the best of them. Well, Guy heard that as purposeful breaks and added these terrific fills! So, I kept the one, ditched the other, and ended up with the written outro played twice spiced up by his fill in between.”
“In the end, I really want listeners from around the world, so there’s really no harm to having more of that world in the mix.”
Beyond that collaborative spirit, are there any artists, moments, or experiences that really influenced you when writing the release?
“Well, ‘Postcards’ came about as selections from a series of demos that I recorded which seemed to all have slice-of-life themes to them.”
“Now, I’d very much love it if music was able to pay my bills, but sorry for breaking the illusion, I’ve had to maintain a day job for that. Well, that day job turned out to be a bit of a bad environment for me, pathological really, leading up to my being laid off, recently.”
“So, I think a lot of my experience, the discontentment and a bit of optimism, found its way into some of the songs.”
What was your songwriting process for the release? How did it all come together?
“Mostly, it was similar to my work with my band in that I’d write a demo and bring it to them for a listen. I suppose the big difference here was that I wanted to keep it very much a solo work, so rather than bringing unfinished songs in I wrote them in whole, allowing Jack to focus on producing the recordings and Phil to play some, frankly, lovely bass.”
“One thing that was different though was that the track, ‘Just a Crush’, was co-written with my daughter! She, actually, had started it years ago while listening to a lot of Taylor Swift. So, I dug it out and decided to finish the song off as she’d recently begun dating and I wanted her to have something from me for moments when heart breaks a little. Now, I still hear Taylor influences in it, but I seem to be the only one, I think.”
How would you describe the sound on your latest release?
“I set out to shake things up a little in my creative process, recording something in more of an indie pop direction. But, I think it ended up being more an evolution, really, as despite my best efforts I’m hearing from reviewers and listeners alike that it’s still quite solidly indie rock. I do think it’s different though and I’m happy with it, just the same. I hope my listeners enjoy that change too!”
Was it important to bring this international feel and inspiration to ‘Postcards’, and how did that gel with your drive to maintain authenticity in image and sound?
“I think it became important and that it all kind of fit the slices-of-life sort of concept. But, it wasn’t a conscious decision, at first…apart from wanting a native brit on board.”
“As it grew though I began to think of it as a sort of fabric that these different, wonderful musicians were contributing to. I still had a vision for the songs though and, on this release, came to the sessions with them completely written whereas I usually bring them partially done to the band and we flesh them out together.”
“Now, I wouldn’t say that my work with the Runners isn’t authentic or anything. But, we get there differently.”
“In the end, it turned out that the songs reflected things I was going through or memories of past experiences. The international players then contributed their own interpretations of what it all meant to them, I think. Imagery-wise, I then picked among photos that I’ve taken from around the world and designed postcards to sort of tie it all together.”
Your music is described as connecting with listeners through "enchanting melodies, real-time musicianship, and genuine stories." How do you approach the songwriting process to ensure these three elements are consistently present and resonate authentically with your audience?
“Well, we’ve got a pretty great publicist. I’d never call myself ‘enchanting’, but I’m more than happy to hear it called that.”
I spend a lot of time on lyrics, personally. I almost always start with an arrangement and, maybe, have a phrase or sometimes a title in mind. But, then I start listening to what’s there, humming it in the shower, whistling while working, and the like. Phrases seem to come to me sort of like I’m channelling the thing.”
Now, that all doesn’t make me the fastest songwriter, certainly. I always marvel at the idea of these hit songs which you hear came together in minutes.”
Anyway, the funny thing is that even after all of that, when I go to do the vocal the song sort of fixes itself wherever I’ve got it wrong. Like I try to sing what I’ve got on paper, and it comes out a bit different in its performance, at times. It’s kind of the icing on the cake, I like to think. That’s one of the things that I enjoy the most about the process.”
It’s clear that ‘Postcards’ will be more than just an album, but a tireless testament to artistic resilience and the power of personal storytelling. From navigating band dynamics to channelling life's upheavals into poignant lyrics, Winchester 7 has once again proven his ability to connect with listeners on a profound level.
‘Postcards’ is a compelling addition to his already impressive repertoire, showcasing his enduring passion for music and his unwavering commitment to authentic self-expression. Be sure to check it out when it drops on July 7th.
For more, you can connect with Winchester 7 today on Instagram, Facebook, YouTube, and Bandcamp.
