GUSTAFFSON: “Bring Back the Truth of Real Risk-Taking Songwriting.”

For Gustaffson, every song begins with a story. Fronted by singer-songwriter and actor Andrew Gower, the Manchester band moves between indie rock, Northern Soul and cinematic storytelling, drawing inspiration from everything from working-class Britain to the films, cities and people that have shaped their lives. Their debut album, Black & White Movie, brought together an unlikely cast of collaborators, including Sir Ben Kingsley, Emmy-winning composer Bear McCreary and Elbow’s Craig Potter.

Now, with a second record on the way and a UK tour underway, Gustaffson are turning their attention to the chemistry of the band itself. We caught up with Andrew to talk about songwriting on train journeys, creative risks, the beauty of unexpected moments in the studio, and why, in an industry obsessed with numbers, he still believes in the power of a good story.

How would you describe your music to someone who has never heard you? What do you hope they feel in the first thirty seconds of a song?

We are a band full of Northern storytellers. Our style is always dependent on the story we are telling. The saying we have in the studio is “story beats style.” However, with a gun to my head, I’d say: Grown-up indie rock with hints of modern Northern Soul. When it comes to the first 30 seconds of a track, I hope the audience realise there isn’t a wasted moment, lyrically and musically, in any Gustaffson song. Every time you listen to those first 30 seconds (and hopefully the rest), you’ll discover something new. Multi-layered music which doesn’t spoon-feed or manipulate any earlobes.

Your debut featured some very big guest names, and this time you worked with a producer whose sound is instantly recognisable. How did you protect your own voice, and when did you feel you had to say no?

As mentioned before, the story behind the track will always win. Our producer Craig Potter (elbow) and all the guest artists who have featured on records came on board because they bought into those tales. There wasn’t a single moment I had to fight to protect my voice – which made for an exciting time in the studio in Manchester. Pure collaboration and space to take real artistic risks.

“Black & White Movie has a very cinematic quality, and you worked with Sir Ben Kingsley and Bear McCreary on it. How did those collaborations come about, and what did each of them change about the songs?

The debut album was inspired by my 16 years working as an actor in TV, Film and Theatre. All the collaborations, including Sir Ben Kingsley, Bear McCreary and Elbow, came about naturally. Spending time with them on film sets. I think they all strengthened the message behind the songs.

Emmy-winning composer Bear McCreary (The Walking Dead) and his orchestra over in LA added real depth and grandeur to the strings on our track Flowers. Sir Ben Kingsley provided the initial inspiration for our track ‘Closer’ – he urges actors and young artists to ‘find their own artistic tribe’ and compares the art form to hunting. Craig Potter (who I met on an independent film set) brought his 30 years of producing experience to every song on the record. He has an unmatched attention to detail and rigorous ability to find the truth in our music.

Do you write with images or scenes in mind, or does the music come first and the visuals follow?

Sounds very simple, but I have just always written. That can be with scenes and stories in mind or vivid images. Quite often the melody is already attached. But there will never be one way I write a track. That’s the beauty of songwriting. An empty notebook and a 2 hour train journey to Manchester from London often means a new Gustaffson track has been written. I love to write on the move.

You recorded the new album with elbow’s production team. What was it like handing your songs over to someone with such a distinctive sonic fingerprint?

This is the fourth record we’ve made with Craig Potter from Elbow at the helm – so we knew going back into the studio for the second album was a MUST. The whole album took 2 weeks to record, and it felt like we were in the right place at the right time. With the right person.

Webbo (Gustaffson guitar) and I often pinch ourselves that we are working with someone we listened to back in the day at sixth form college. Craig’s fingerprints are the perfect match for Gustaffson, and the relationship really is going from strength to strength.

How does the second record differ from the debut, in sound, in mood, in what you were trying to say?

The first album was all about my 16 years as an actor and delving back into my love for music. This next record is all about the band. The tracks we grew up with. There’s a real raucous energy and purpose to embrace the strength of the collective of a band.

Was there a moment in the studio when you realised the album had become something you hadn’t planned?

There were many unplanned moments. There’s a real beauty in the unplanned, if you’re in the moment.

You’re playing new material on the UK tour this autumn. How do the songs change when they meet an audience for the first time?

There’s something special about playing a track to the audience for the first time. They have all been written to be played live, so I think it’s the true litmus test of whether there’s an instant response or connection. You always hear tales from gig-goers saying: “I was in the crowd when they played that for the first time”. That’s what the band love about live music – you can create real musical moments & memories.

The London headline show is a collaboration with Edward Sexton and hosted by Simon McBurney. Why did you want fashion and theatre in the room alongside the music?

Savile Rowe tailor Edward Sexton is enveloped in the music industry – he’s dressed The Beatles, Bowie, Rolling Stones and so many more. The story of Sexton runs parallel with the best British music.

What I love about the Edwards story is – he came into Savile Row as a working-class Londoner and turned the narrative of mens suit wearing fashion on its head. It’s inspiring, and we are honoured to be collaborating with them. It’s something the band wants to do with our music. In a world full of spreadsheets and swiping right – bring back the truth of real risk-taking songwriting. With a sprinkle of mystery behind the stories.

What is the best and the worst thing about life on the road?

The best thing is the band. The two worst things: late check-ins at hotels and congestion traffic fines for the van.

Which films, books or artists have shaped Gustaffson more than people would guess?

So many. Recently a film called ‘Conclave’ directed by Edward Berger. Everyday heroes like: Louisa Gustaffson (my Swedish great-grandmother), Freda Kelly (The Beatles fan mail exec and friend), and venues like The Jacaranda (Liverpool). Oh, and let’s not forget all the cities we write about … Paris, Belfast, New York etc. There’s a real melting pot of inspiration. That’s why I love to write.

If someone leaves the Lower Third on 11 November remembering just one moment, what would you like it to be?

I switched off my phone and got lost for the night with Gustaffson. They made me believe in the collective over the individual. Wouldn’t that be nice?

Also, ‘kindness is underrated’.

Once the UK tour wraps and the album is out in spring 2027, what’s next for Gustaffson? Are there places you’re dreaming of playing, or projects outside the band you’d like to explore? Is there anything you’re already itching to try that didn’t fit on this record?

We’ll finish the last 3 shows of our UK tour in Liverpool, London and Manchester this autumn. We’ll release new music in early 2027. A record which we think is our best one yet. There will be a huge Manchester homecoming and our biggest record store tour to date. After that, we’d like to play cities in the UK we haven’t set foot in. Also, Japan and Europe. We’re making a real conscious effort to take our stories overseas. A Festival season and a nice support slot would come in handy to… if anyone reading this is interested?

As always, we will keep pushing quality over quantity. Calendar marking shows for our audience and staying well away from the indie landfill/shades of mediocrity (to quote Simon & Garfunkel).