Five Minutes With...John Arter
"If I'm still here and still singing, whether to empty rooms or packed stadiums, I'll be happy."
Howdy partner.
This week we speak to UK Americana artist John Arter. Having only recently begun his musical journey, John has wasted no time in making an impression on the British country scene. In 2024 he released the stripped-back and soulful ‘Dark Country’ EP, and this year has unveiled two rockier singles alongside The Eastern Kings band, including the rollicking and joyful ‘Last Ride’.
We speak to John about his inspirations and aspirations. Let’s Go!
Q: Describe your music in three words…
Sex and Gunpowder
Q: What's your musical ethos and your reasons for making music?
I love Americana. It's soulful yet restrained, with some of the greatest songs of all time belonging to it. I write in a very literary style, in every medium I can; music is just an extension of that, really. But I'm finding ways to express myself in a manner I never believed would work for me when I was younger. But I just want to be honest and tell stories, always have, so a part of me is disappointed I didn't try it sooner. I feel like I'm catching up for lost time.
Q: Who are your main musical inspirations?
Jason Isbell, Zac Brown, a certain Dylan era. But I try to feed in everything I like about music in what I write. There's jazz in the progressions, new metal in the riffs, classical in the strings - it's a huge marriage of influences. And beyond music too - I try to write like the poets, like the great novelists, and it rarely lands quite where I intended, but the results are what you hear.
Q: You recently released ‘Last Ride’ - tell us about the writing and recording process for this?
Last Ride was an odd one. I write with a lot of heart, but there are audiences that aren't used to my particularly tender brand of masculinity. I was trying to write a track that would cross a boundary for me. Such a simple moment in time, meeting eyes with your ex across a busy bar, and the relationship flashing before your eyes, the hurt and anger, before slowly realising you're about to make the same mistake again. But in writing it I pushed myself to make it heavier, sexier, and more fun, and we kept that ethos all the way through the production. Whip cracks and horses, motorcycles, the spoken ad lib in the middle - these were all ways to have fun with the idea of having a “last ride left in me, how 'bout you?”.
Q: The track was released with The Eastern Kings and as a result is a much heavier record than last year’s EP - do you have plans to record more with The Eastern Kings band?
In a way I'm annoyed with myself for pushing the ‘Dark Country’ EP out so soon. I only started playing and singing in January last year, and by March I was in the studio, determined to lay down some songs. I started the Eastern Kings with Mike Sting, who also produces and engineers, as a way to find a real home for the sound, beyond what I could do on my own. My musical education is still ongoing and always will be, but the Kings are a vital part of that and what I'm doing with the guys is incredible, and so far beyond what I'd be able to do alone. That said, we keep the names separate so I can still dabble in solo projects, including one which will be announced this summer for release in autumn. I'm very excited about it.
Q: How have you approached marketing and promoting your releases?
That's the crux, isn't it? Something we've done has apparently worked. If you know what, please tell me. We've thrown ourselves at every medium we could find. We've built a fledgling but growing fanbase, refined the sound, spammed every radio station I could find an email for on four continents. And pumped as much time and effort as we can into the socials. But the latter isn't something that comes naturally to me. Just had my one year anniversary on Instagram and it's still weird to be using it at all.
Q: How important is playing live to help rising artists build their audience?
Absolutely crucial. As mentioned, I started last year, and here's a secret - I suffered from dreadful stage fright. But when I'd decided I was doing it, I played five open mics a week until I could sing without shaking. I still get the nerves - baring your soul to strangers is a weird pastime for a man who is naturally very private - but I hide the nerves better these days, because you have to, to connect with an audience. If only so they can hear the words.
Q: How do you balance your music with the rest of your life?
That's a great question and, the truth is, very badly. I'm ADHD and very insular, and I lock into music in a way that's all-consuming. It's not great for the bank balance, but you get a lot done.
Q: What song/record by another artist we may not have heard of can’t you stop playing at the moment?
If you haven't heard ‘If We Were Vampires’ by Jason Isbell and the 400 Unit, I think it's a strong contender for the title of masterpiece. Economical, beautiful, poignant. Every line advances the message, every moment is stunning. Jason's an amazing writer anyway but there's something about that song in particular which blows me away. Thinking about it, even if you have heard it, go listen to it again in a dark room. Like all the best songs, it'll change your life if you let it.
Q: If you could change one thing about the music industry what would it be?
Man, there's got to be some money in it somewhere, right? It genuinely upsets me to think of all the songs we'll never hear because people can't afford to sing for nothing. It's one of the oldest art forms in the world. It should be kinder to its artists.
Q: In one year’s time, where would you like the band to be?
I'd love to be supporting one of my favourite artists on their UK leg. But dreams aside, if I'm still here and still singing, whether to empty rooms or packed stadiums, I'll be happy.
Thanks John!
And good timing - John has just released new single ‘Shutaway’, a moving ballad featuring Liv May Younger. Listen on your streaming service of choice here.