The Sheffield Scenester

With the resurgence of so many former successful bands, you may be forgiven for thinking that cashing in on the grey pound is commonly accepted as a perfectly respected activity by music professionals.

I caught up with John Squire of the Stone Roses, to discuss how his career has taken a new direction and that returning to music is the last thing on his mind.

I was given the heads up that the former guitarist of the Mancunian indie group of the late 80s early 90s was about to launch his new art installation at the newly opened Bar Lane Studios in York. I knew that this was a perfect opportunity to talk to the slightly awkward, yet brilliant musician about his fresh career direction that has seen him become one of the UK’s most sought after contemporary artists.

I was aware that his work was mainly focused around prints, described as ‘Bold and dynamic, saturated with emotion’, according to Saatchi Art and Music Magazine. From a little research it was evident that John had been heavily influenced by expressionism throughout his life, including the work of the late Jackson Pollock. This has resulted in his work being an eclectic mix of abstract expressionist pieces, this particular collection focusing around and entitled structural violence.

Arriving at the newly opened art gallery, I could see that the volunteers were still busy preparing the refreshments and literature. The smell of paint was overwhelming as I walked over to view the highly anticipated work. I was intrigued to discover how the printed shapes on paper would reflect the title of the collection. I was enthralled by the delicacy of the work, although I decided that the work would surely make more sense to an art novice after I spoke to its creator - who was running late.

I had read in a 90s online copy of Smash Hits that John Squires was a man of few words, I was hoping that would not be the case as I pulled out my dictaphone to record the interview. As I checked the battery I noticed John enter the gallery and saunter casually towards me. We did the formal greeting, although I was in amazement at how this guy could still look so cool and collected in his 40s – my Dad certainly doesn’t!

We headed off to a quiet corner and I set out on the challenge of interviewing a man about music who had recently renounced the art and, according to a recent report in the Guardian, hates chit chat.
“Your love of art and music seems to have created a real synergy, as it seems that the two have never really been apart throughout your career. Would you agree?” I began by asking the former indie rocker. “Hmmm, yeah,” he replied hesitantly.

I was aware that when the Stone Roses were relatively fresh on the music scene, Squires was busy using his hands to create models at Cosgrove Studios for shows such as Wind in the Willows.
“Why did you move away from crafting things with your hands to pursuing music fulltime with the Stone Roses?” I enquired. “After a tour of Sweden with the band playing to only around ten people each session, I decided that was something I wanted to pursue. I quit my job at Cosgrove, went on the dole for four years in order to make sure we were a success.” He added.

As the interview picked up momentum I decided to tackle the reasoning behind his departure from the music scene and emergence into the art world.

“It has been mentioned that you have ‘renounced music’, does this mean that you will be focusing primarily on art, or have you merely brought this passion to the foreground for the time being?” I asked. “No, I wouldn’t say art had come to the foreground, I just don’t make music anymore. I’ve just moved on, I make art.”

“Your art was an integral element to the Stone Roses branding?” I said. “I wrote songs and occasionally got my paint brushes out to create the odd album cover, that’s all.” He said, rather despondently.

I could see that the esteem the public have for his art work whilst in the Stone Roses, wasn’t reciprocated.
“I feel that if I spent too much time on one discipline, the other would suffer.” John added. “Then, when I worked on my last studio album, Marshall’s House, I realised I was thinking more about visual art than I was about music. I had created the album around the work of the artist Edward Hopper. So, I decided to quit music and focus on art and attempt to reinvent myself.”

I began to realise the depth of passion John Squire had for art and wanted to explore if he regretted his decision about not following art as a career, rather than music.

“In a way I regret not going to art school as there are a lot of holes in my knowledge and I have spent a lot of time just learning about the chemistry, particularly with oil painting. I think that there are definite benefits to working outside the educational system and going it alone, but on the other hand it would be great to have a greater understanding of art history and techniques.”

His cool facade that had left me feeling like Michael Parkinson interviewing Meg Ryan was gradually being worn down as I proceeded to talk about art. I could see that this was a real joy in his life, although would the Stone Roses be making a comeback?

“As you must be aware, a number of successful 90s bands have reformed recently, as one of the most successful and credible bands of the decade, do you see yourself making a comeback?” I asked tentatively. “No, I certainly wouldn’t want to go chasing the grey pound just because no one is interested in modern music. I would want to see a band in their prime, not reformed.”

“Last Christmas the public proved to the music industry just how powerful social media can be, when a Facebook campaign secured Rage Against the Machine the Christmas number one. Would you ever listen to the masses through social media?” I enquired. “No, I can’t stand Facebook.” He said, indignantly: “If I want to meet or communicate with someone, I won’t use that.”

“Sheffield is suffering from graduate unemployment,” I informed the self-taught lead guitarist to one of the biggest bands of the 90s. “Coupled with a high number of creative individuals, what advice could you pass on to the next generation of musicians?”

“Don’t get disillusioned,” he replied sincerely. “You have to realise that it does take a long time and that when you have those dark nights with your soul, the trick is to keep to what you’re doing and wait for the world to come round. It is easy to feel like you’re being ignored. The only way to break through is to be prepared when you get the opportunity. Just keep at it, even when things are bleak.”

“Do you feel that the X Factor distorts people’s reality on the music industry?” I asked. “It is a definite distortion, it doesn’t work that way. If you do the groundwork, acoustic sessions and small gigs and then secure a record deal, you have a better grasp of reality than from securing success through a TV show.” He retorted.

Before I knew it the interview was over and it was time to drink a little chilled champagne, network, nod and head home. I realised how integral art was to the former musician and how although his love of the two disciplines may have worked years ago, he was now set on not only following, but becoming just like the artists he had admired throughout his entire life.

Interview by Adam Thorndike (Cookie PR) Photos by