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INTERVIEW

TOM ODELL

INTERVIEW

TOM ODELL

apparently he was just crazy, and I think he threw

himself off a bridge. I just think he could be good value

for a festival.

ROLAND: He may even commit suicide on stage?

TOM: I know, he is making rock stars look really tame.

ROLAND: Right, and he's a composer.

TOM: He was just completely nuts. I think that he

would be pretty cool at a festival. I'm not sure how it

would go down though, because I don't think anyone

knows any of his songs. It could be quite a vibe killer

actually, but…

ROLAND: Well, I'm endorsing it myself, I love it.

TOM: Robert Schumann. So he would be on the

Friday, then Bowie Saturday night. And then Sunday:

I'd have Billie Holiday.

ROLAND: Wow, that's a nice triple bill.

TOM: Yeah, so avoid Billie Holiday and Robert

Schumann meeting (each other), because that would

be it. One of them wouldn't perform. And they would

fall in love and then it would all implode...

TOM ON THE FP-80

When I was living in Brighton, the rst keyboard I ever

bought when I arrived was an FP-7. And I bought a bag

for it and used to drag it around over Brighton doing lots

of gigs and anything I could nd. It actually has a really

close sound to the LX-15.

Good for your ballads as well. In Brighton, I was living in

this bedroom at the top of this building, and I couldn't

always make lots of noise so having the volume and

having the headphones was really useful.

Lots of the songs on Long Way Down were rst written

on that piano. Because when I was living in Brighton I

didn't have an acoustic piano, I just had the FP-80, or

the earlier version of the FP-80.

So we got this now, but when we arrive at a venue and

I would like to do some writing or some warming up,

then you can bring it up the steps and it just ts into the

dressing room. I will use it for the piano but I'm a bit

weird, because I only really like playing pianos. But, you

know, it has got exactly the same sound as the LX-15.

It kind of suits me, it has got all the same instruments. I

think this is actually better than the old FP. It has a really

nice feel, just feels the right way. It's great, it's really nice.

TOM ON THE LX-15

We rst took it out on the road about a year ago. And it

has just been ideal, you know, because it looks like an

upright piano, it sounds like an upright piano, but you

don't have to tune it every night.

People have tried to make me use other things. Like

when we did a festival the other day at Latvia. On

occasion you just have to use something else, but it's

just not the same.

But, you know, it's just a great piano and I can't really

ever seeing myself using anything else. It's ideal and

we've used it ever since we were in the back of a tiny

band supporting Jake Bugg, in the cold winter months

of last year, on to playing slightly bigger size venues this

year. It's been great.

The problem with live is when you're playing with other

bands, to get a piano sound that has still got the softness

but the brightness. You know, the softness for the quiet bits

and the sensitivity, but also the brightness to get past it all.

Right now, particularly when the tour bus has stopped,

and I spend a lot of time sound checking, the band do

a lot of writing on it.

So a lot of the writing is going to be done on the FP-80

and also on the LX-15. And we have only ever broken

one. I pushed it over (laughs). I don't know how happy

you guys were about that...

I'm very, very honored to work with Roland, it's a great

combination.

it's a great piano and I can't

really ever seeing myself

using anything else

INTERVIEW

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